Jean Carzou: Garnik Zulumyan (1907–2000)

If Ivan Aivazovsky is Armenia's best-known 19th-century painter outside the country , the best-known 20th-century one is probably Garnik Zulumyan, also known as Carzou (1907–2000). He worked as a stage designer as well as a painter and engraver and his paintings do often reflect a decorative and theatrical quality.

Claiming that Picasso was no painter at all, he claimed the only truly great painters were Claude Lorrain, Watteau and Dalí.Carzou's response to the Armenian earthquake of 1988 was the painting Armenia: Earthquake. Hope, in which a naked woman is shown standing over ruins against a background of Armenian buildings and mountains.

From
Armenia with Nagorno Karabagh - Page 48, Nicholas Holding, Deirdre Holding

Zakar Zakarian (1849-1923)

Still life with coffee grinder

Zakar Zakarian was one of the pioneers of the still life in the Armenian painting.Less well known today but highly regarded in his time, lstanbul- born Zakar Zakarian was active mainly in Paris, where he had his first exhibition in 1879, after which he decided to interrupt his medical studies and devote his full time to art.


Source
Photo is from, Gallery.Am

Gevorg Bashinjagyan (1857-1920)

In the nineteenth century, the tradition contiuned of Armenian painters travelling to Europe or Russia to study in Fine Arts Academies.The late nineteenth-century Armenian painter Gevorg Bashinjagyan left Signakhi, Georgia, to pursue art in Saint Petersburg. 

Gevork Bashinjaghian developed the painting of landscapes with his calm, serene views.

He graduated from the Academy in Saint Petersburg, with a silver medal (awarded for his film "Birch Grove"), which gave him the right to receive scholarships to travel to Europe ( In 1884 - Italy and Switzerland ). Then the rest of his life he lived in Tiflis, leaving out in different areas of the Caucasus.

 Source
Rethinking Arshile Gorky

Paul Guiragossian (1926–1993)

 The development, since the late 1940s, of a tradition of Armenian figurative arts in Lebanon filled a gap in the reconstruction of an Armenian cultural world in the country and enriched the image of Beirut as a hub of Armenian culture in Diaspora.

In painting, the Armenian-Lebanese artistic movement arguably began with the arrival in Beirut of a young, Jerusalem-born son of refugees: Paul Guiragossian. Initially self-taught, and then artistically educated in Italy, , Guiragossian managed to elaborate a personal style that drew inspiration from the European tradition of authors like Goya, Daumier, Van Gogh but also from the Oriental tradition of Mesopotamia, Egypt, Byzantium and Armenia, and rapidly imposed himself as one of the most promising artists on the Lebanese scene.

 Life in the Armenian camps and quarters (Baraque, camp Amanos, 1948; Funerailles à Bourj Hammoud, 1948; L'Eglise St. Joseph, Bourj Hammoud, 1949), the 1915 deportations and his own family life (Juliette et Mano, 1955; La famille, 1957) were the main themes of his work, all bound together by the experience of the Genocide.

Source
Reconstructing Armenia in Lebanon and Syria by Nicola Migliorino