Vardges Sureniants was deeply concerned with the cruel destiny of the Armenian nation. He depicted the cruel atrocities by the Turks, that had been taking place long before the Armenian Genocide in 1915, looks like Sureniants documented the bitter fragments of the Armenian history in the "Homeless", "The Abandoned", "Massacre of Virgin", "The Monastery of ST Hripsime" and other canvases such as the "Desecrated Shrine" painting.

Slaughter and pillage, destruction of parchment manuscripts, massacre of the virgins and Armenian priests inside the church. But despite these scenes, Sureniants symbolizes hope and faith through the rising cross stones as symbols of strong faith and salvation of the Armenian nation.

Nazaret Karoyan (Аrt critic): "Genocide therefore, was mostly a technological program and action. As such, it did not imply the sheer destruction of a group of people, the removal of all that related to their everyday life: eating (towel, table cloth, napkins), sleeping (tick, blankets, sheets), intimacy, dreams, all those open and secret subjects of everyday life that Bourdieu called habitus. The operation was not only directed to the destruction of the reproductive organs of a human collectivity, an entire race, but also the elimination of all signs, thus making impossible mourning itself and the words of mourning.

Sahak Poghosyan, by addressing genocide, deals with this situation. The point is not that there are no stories in this situation, but that it is impossible to talk, as such, about them. The painter seems to portray their weak whispers that eventually become silence by enmeshing the linear clearness and color brightness of fabrics and trimmings with a coating of paraffin."

Moko Khacahtryan: "My spirit becomes wonderfully and uniquely noble and, out of nowhere, the sense of variability which has an inexplicable strength embraces me and gives my existence some mystery and makes me the hero of my paintings. This is where the probability of the impossible turns into reality. When I direct the process, only I can influence, change, give birth to or destroy this or that abstract character. When the color of black, with all its power, falls on the whiteness of my consciousness making it more luminous, it gives the paintings the shape of concealed purity. It gently and smoothly blends with the color of red, but it artfully gives in to the color that can swallow and destroy. Everything gets veiled with a single indefinite and shapeless gesture. Everything gets ruined in my eyes and I am in total confusion realizing that I am not right, that it is not me who directs them, but rather they do it. I humbly obey their demands and surrender to the power of the world being created where I am allowed to exist and fulfill my mission. They absorb my energy and power till the very last drop. And only when they get saturated, do they set me free – until the next time. This is the strongest ecstasy after which it takes you quite a time to return to the reality. But only then can I feel that I exist and breathe. I wish I could stay there forever. In this very unreality, which is sometimes more real than the reality itself, there exists the proximity to God which becomes a part of the fantastic world called art."

Hakob Kodjoyan, The outstanding master of graphics and fine arts visited Ani in 1919, that was one of the oldest Armenian capitals, but in 1915 during the Armenian Genocide implemented by the Ottoman Turkey the Armenian nation was subjected to forced displacement from the fatherland. The ruins of Ani were left in the hands of the Turkish invaders. Kodjoyan, seeing the abandoned Ani, going through the ruin, filled with tragic feelings created the epic history canvas of "the Ruins of Ani".