Ref. Number: 1.1.4.171

D167Z120.TIF THE PRESS ON NORA AZADIAN’S ART Nora Azadian, in the full development of her talent, dashes herself into oversized compositions, characterized by rich paste in a discrete and refined chromatism – her flowers express brilliance, sensibility and elegance. Dimitri Diocomidis “Progrés Egyptien”, Cairo, May 17, 1967 Four paintings by Nora Azadian emanate a ravishing grace, a grace “more beautiful than Beauty itself”. This master of portraits, subtly deforms her “Two master of portraits, subtly deforms her “Two Nubian figures”, enveloping them in vivid, light and rare colors of a sensuous art. Antoine Gennaoui “Journal D’Egpty”, Cario, May 19, 1967 Living moving nature – whether in a mere decorative flower or a deep in the black eyes of a golden Egyptian face – is met in all the Works of Nora Azadian. Randa Fattal “The Arab Worls” Magazine, February, 1970 Her composition, the colors, the blues, olive greens, the “Armenian” pinks, the ochres, the neat use of the palette knife to give an old. Beautiful, clean, venerable look, the very love she has instilled into tje Stones of this view of a tree-embellished church from a window, quiet, healthful cleanness and dignity. Herold Anthony Gregory “The Mirror-Spectator”, Agust 9, 1969, Boston. The most saliant trait in Nora’s art is the poetic expression, which radiates from her oils as well as from her watercolors. In this age when many artists tend to content themselves with a demonstratşon of technique, Nora gives herself in her paintings with warmth and poetic sincerity, without, however, compromising the excellence of her technique. Ashod Zorian “Baikar”, July 26, 1969, Boston, Mass.