Eduard Isabekyan is from Igdir. In 1918 the artist's family migrated and pain of the loss of his motherland was so strong that he didn’t want to go back to Igdir that had been left in the hands of the enemy. Eduard Isabekyan wrote: "You dear, didn’t you have feet to migrate with us, so that we took you to the other side of Araz as well. You remained in order to be geographical concept of "alive dead"..."

Shahen Khachatryan (Art critic): "The sensitive lines of Jansem are flowing in the canvases like blood vessels and harmonizing the subtle, pale color palette, they create hyperrealistic, visual and music atmosphere. Jansem practices this principle of building the image. Exactly 50 years after the Genocide inspired "Funeral of my grandfather" painting, the master creates the "Genocide" series revealing the curtain of the history truth.

Stepan Andranikyan depicted The western Armenian poet Siamanto as symbolically and romantically as the poetry of the poet.

The poet of rich imagination and subtle senses sings for bloody destiny of the sons of the country creating the atmosphere of startling moods. But Siamanto’s creations along with the tragic images, has optimistic content as well. Describing the tragic horrors of the Armenian nation subjected to atrocities by the barbaric Turks, Siamanto thickened the appeal to the son of Armenia for avenge and liberation struggle, bringing hope for life and existence, dignity and justice, light and beauty. Siamanto’s creation is a national phenomenon, but thanks to that it has a universal content. He sang gracefully about the tragedy of little extinguishing nation in the imperialistic world, spreading hatred towards any kind of violence.

In 1915 he was among the group, not far from Ankara in the canyon, Turkish barbarians were violently torturing them with weapons, pickaxes, stones and axes. They say that the next day the Turkish Bashibozuks were walking along the streets of Ankara wearing the national costumes of the Armenian intelligentsia.

The third stage of the planned extermination of the Armenian nation by Ottoman empire is expressed in one composition in Mkrtich Sedrakian’s "Year 1915" canvas. The first stage was enrollment of the Armenian men to Ottoman army, then disarmament and slaughter by the Turkish military associates. The second stage was the extermination of the Armenian intelligentsia and the third stage was the massacre of the women, children, elderly people by deporting them to the Syrian desert.

In the 60-ies Soviet Armenia the Armenian artists were prohibited to depict on theme of the Armenian Genocide. And only, in 1965, when the Genocide monuments was built in Tsitsernakaberd the ban barrier disappeared.