Norik Dilanchyan

Norik Dilanchyan – Classical Renaissance Figurative Painter

Norik was born in Yerevan, Armenia ( Russia ) in 1958.

“I strongly believe that the greatest creation in the universe is the human form especially the female form.”

Norik Dilanchyan is a member of our list of ICAS gallery artists, currently showing in our mixed group exhibition. The exhibition features works of a group of very distinguished artists, working on the theme of Venetian Celebration. The Collection of work by Norik include original oil paintings from which three paintings have been selected to produce studio limited edition prints. For Dilanchyan, a classical Renaissance Figurative painter, the human figure is a thematic element in his work. Dilanchyan said. I strongly believe that the greatest creation in the universe is the human form especially the female form.

artist-norik dilanyhanHis talent in art was recognised at an early age. He was encouraged to take up art lessons at the age of six. From 1976 to 1980 he attended and qualified in Fine Art at the State University of Arts in Yerevan. During this period he was invited to join the prestigious association ( Y.A.A.R.A) Young Artists Association of the Republic of Armenia. Since qualifying, he has had many successful group art exhibitions together with other established Russian artists from 1981-1991. And Solo exhibitions in Yerevan, Tallinn, and Mos.

During 1978-1988 his body of work concentrated on mythical themes, like the old masters Caravaggio, Rubens, Rembrandt, he completed artworks using the basic technique in the medium of pencil and charcoal drawings. This would later become an inspiration to completing his final paintings. His next development was inspired by the impressionists’ movement of the 19th century. The inspiration was more about principles of impressionism, rather than the techniques.

The influence of impressionism brought about changes that we are able to observe in his later paintings. The technique of short, thick strokes of paint being used to quickly capture the essence of the subject, rather than its details. The paint is often applied impasto. Colours are applied side-by-side with as little mixing as possible, creating a vibrant surface. The optical mixing of colours occurs in the eye of the viewer. The GrACE IN ART Norik Dilanchyan2


Grays and dark tones are produced by mixing complementary colours. Pure Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and intermingling of colour. The surface of an Impressionist painting is typically opaque. The play of natural light is emphasized. Close attention is paid to the reflection of colours from object to object. He develops his technique used in the current collection as a lovely mix and playfulness of his brushstrokes blending the palette of colours from the bright, bold colour to soft pastel colours, as freedom of expression.

Almost to tease the viewer, directing the eye to all parts of the painting and experiencing the thoughts of the model and the artist. The recent collection of work is more focused on a single central image mainly female form, balance with other figurative images in the background creating a powerful expression of drama, music and Melodies in his paintings.


After moving to the United States in 1992, opened other opportunities to continue his research to develop his own unique technique working in colour concept for his still life and landscapes. This led to 1994 Norik’ s art being introduced to Mark Alan Galleries in Laguna Beach and Newport Beach from 1994-1996. He participated in many group shows in Fresno, Whittier, LA, and San Francisco.

His works have been admired and in the collection of both private and corporate collectors around Armenia, Estonia, Europe USA and UK.

We invite you to take the time to study Norik`s paintings, enjoy the experiences of this colourful cultural Venetian Art through his eyes.

NORIK DILANCHYAN Venetian art collection



Every year, from February to March, Carnival in Venice, Italy is held. It dates back to 1168 as a celebration of the victory of the Republic of Venice against Ulrico,
When we think about Venetian masks, the images that come to our mind are of Venice Carnival, with all their feathers, fancy hats and extravagant patterns. In effect, the world of Venetian masks is far more complex. Ancient Venetians did not put on their masks solely during the Carnival period, but rather during most of the year, at least as long as the Venetian Serenissima Republic lasted until 1797.
The tradition of mask-wearing is quite old since the first written source bearing witness to such usage dates back to 2nd May 1268. Masks in Venice were therefore a symbol of freedom, a way to get rid of social rules and to conceal the masked person’s identity and social status, not only during Carnival but also in the everyday life.
We witness the wearing of masks captured in the early paintings of Pietro Longhi (November 5 1702 – May 8, 1785) a painter of the Rococo period known for his small scenes of Venetian social and domestic life.


FICAS art gallery 2020or all private or corporate commission by our gallery artists, please contact
Sunil Vilas call 01462 677455 or




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