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The Resemblance and Diversity in the Art Works of Toros and OninO
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By: Benjamin Gray Email Article
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Born in 1978 in Armenia, OninO was always a top-quality painter, but she was unsure about adopting art as a career choice. But after her stint in a dedicated art institution, OninO encountered the artworks of the Russian maestro, Toros. This resulted to a huge change in the student who was so inspired by the artistic genre of Toros (Vagarshak Torosyan) that she started studying art earnestly. One cannot but overlook the ample and enormous influence of Toros in shaping the career of OninO as an independent painter who shows profound creative potential of her own.

It would be pretty unjust to designate the influences of Toros on her artworks as mere simulation it was meant more as an imbibing of alike procedures, brush strokes and changing of one's thoughts that should be taken forefront. OninO, who was especially intrigued by the exciting and strange faces of Toros, spent two years learning art under him in the United States. By this time, however, the master was successful in making her understand her own manner and increase her creativity through the vast array of her canvas.

Any contrast made between a master and a student can't be considered as a simulation of art on any party. It's in effect a recognition of the artistic level of each painter in trying to stress the creative elegance of each while remarking the outside influences of the complete result.

As is anticipated, the influence of Vagarshak Torosjin is somewhat visible in some of the past pieces of OninO. Although even in the subsequent years she keeps several of it, it is more during the latter half of her artistic term when we can spot the eccentricity of OninO as a painter. During the early period, one notices similarity particularly in the portrayal of the characters, this includes the same constricted faces, with curious expressions. A careful look on another light, reveals that Torosijn Vagarshak's characters are either at times more practical and at others, totally uncanny, while those of OninO's are somewhere in the middle. Interestngly enough, one gets the impression that her characters are larger than in reality and more rich and daring in their mannerisms.

One cannot help but discount in both the pieces of Vagarshak Torosjin's and OninO, the highlighting of the diverse types of hats that the characters wear. While the faces of Toros are devoid of hats (though the characters do don a hat in the other paintings), every masterpiece of OninO has the characters donning some or the other type of colorful hat. In reality, all of OninO's hats are remarkable and they draw as much interest as the characters themselves.

Both on the other hand, maintain their influence of Cubism; OninO at times more than her teacher. Her flirtation with shapes is so delicately manifested and so delicate that one may miss it if not viewed with a perfectionist eye. The mixture of natural elements and feelings into each of the paintings is one focal point of both Torosijn Vagarshak and OninO. However, while Torosijn Vagarshak stenly keeps hardly any hints of feminist tendencies in his masterpieces, OninO's paintings are sated with them.

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It's possible to have a look to Toros Fine Art at online site Modern Gallery-2000. This Art Gallery is the elite trader of canvases by Toros.

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