Janna Melkonyan-a young Armenian woman from Gyumri who “conquered” Mosfilm Film Studio

The All-Russian Museum of Decorative, Applied and Folk Art in Moscow recently opened the personal exhibition of Merited Painter of Russia and member of the Union of Cinematographers of Russia Janna Melkonyan. The exhibition featured the painter’s works and sketches created for recognized Soviet and Russian films.

Hayern Aysor, citing Rusarminfo, states that Janna Melkonyan was born in 1948 in Leninakan (modern-day Gyumri). At the age of 17, she left for Moscow and got accepted to the Applied Arts Department of the Textile Institute (modern-day Moscow State Textile Institute) where painters and designers would undergo training during the Soviet era.

In 1973, Janna Melkonya received a gold medal for her diploma work presented at an international exhibition held in Budapest.

Janna Melkonyan started pursuing her career as a painter/designer at Mosfilm Film Studio in 1977. Her first work was shown in Eldar Ryazanov’s film “Love Story of an Officer”, followed by a number of Soviet and Russian films, including Edmond Keosayan’s “Star of Hope” (1977), Ivan Kiasashvili’s “Women Inviting Men” (1980), Emil Lotyanu’s “Anna Pavlova” (1980), Vadim Abdrashitov’s “Time of Dancers” (1996), etc.

Janna Melkonyan’s most recognized work was seen in Vladimir Menshov’s film “Moscow Does Not Believe in Tears” (1978), which not only became the most beloved film of the Soviets, but also scored an Oscar.

Throughout her career, the well-known Armenian painter has participated in dozens of exhibitions in Russia and other countries and has held several personal exhibitions, including at Ark Museum of the complex of the Armenian Apostolic Church in Moscow in 2016.

Today, Janna Melkonyan’s works are part of the collection of the Tretyakov State Gallery, as well as the private collections in the United States, Great Britain, Italy, Malta and Germany.

Over the past years, Janna Melkonyan has entirely dedicated herself to painting, and as her colleagues say, she has made a transition from cinematography to the dramaturgy of her own feelings. In her works, Janna Melkonyan often portrays Armenia, the nature in Armenia and her close ones.

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