Born in Constantinople, the capital city of the Ottoman Empire in May of 1904, Arman Tateos Manookian was an Armenian-American painter known for his oil paintings and murals of Hawaiian scenes. He was the eldest of three children born into an Armenian Apostolic Christian family in Istanbul who held their status and affluence despite the taxation and political dominance of the Islamic Turkish Pashas.

Arman Manookian’s initial education was acquired at the Catholic school of Saint Gregory the Illuminator, a branch of the Armenian Mekhitarist Brotherhood of Venice. During his early life, the hostilities against the Armenian Christian minority in Turkey increased until it became a genocidal rampage that led to more than one million deaths by 1918. On April twenty-fourth in 1915, Manookian’s eleventh birthday, six hundred local men, many of them writers, intellectuals and politicians, were rounded up and murdered; five thousand more men were dead within weeks. 

Manookian’s father, Arshag Manookian, had fled to France to escape the genocide; however, Arshag died in 1917 of the Spanish flu, a victim of the epidemic contracted and spread by returning French soldiers. Manookian, now in his mid-teens, took over the heavy burden of the family’s printing and publishing business in Constantinople. His mother eventually sold the business and gave Manookian a large sum of money that enabled him to sail aboard the “Re d’Italia” to the United States. He arrived at New York City’s immigration entry point, Ellis Island, on the twentieth of April in 1920. Manookian then traveled to Providence, Rhode Island where he lodged with his mother’s relative, Leo Stepanian who had an umbrella business. 

Recognized for his early artistic talent, Arman Manookian was given a 1920 state scholarship to study at Providence’s Rhode Island School of Design. He took the required first-year courses and, in 1921, focused on Commercial Illustration which he passed with high marks. By 1923, Manookian began listing his skills as a lithographer. He enlisted in the Marine Corps on the eighth of October in 1923, under the fraudulent claim that he had United States citizenship, to serve in the U.S, forces and achieve a new American identity. Manookian was assigned in November of 1924 to Major Edwin North McClellan of the Historical Division of the Marine Corps, whose project was a history of the Corp’s participation in World War One.

After he presented his recent sketches of military exercises in the Puerto Rican island of Culebra to Major McClellan, Manookian became the official illustrator for McClellan’s historical articles. The completed epic history would eventually contain over one-thousand pages of articles, not including their notes, and more than one hundred illustrations by Manookian. Many of these illustrations are currently housed in Washington DC’s Marine Historical Center. During his service in the Corps, Manookian created several portraits of Major McClellan’s family members as well as cover illustrations for “Leatherneck” magazine, instituted as the official Marine Corps publication in 1920.

When McClellan received a new posting at Pearl Harbor, Arman Manookian went with him to Hawaii. It was his stationing at Hawaii that transformed Manookian from an illustrator to an artist with an idealized historical and mythological view of the islands. He created many illustrations to accompany McClellan’s new historical writings on the Hawaiian islands that were later published in “Paradise of the Pacific”, a periodical promoting Hawaiian tourism and investment. A short profile of Manookian, in which he describes the Hawaiian islands as the mid-Pacific gardens of the Gods, was published in a 1927 issue of “Paradise of the Pacific”.

Discharged from the Marines in 1927, Manookian decided to remain in Honolulu. He filed a Marine Corps waver of transportation to the United States and began working as a illustrator for the Honolulu Star-Bulletin. The opening of the Honolulu Academy of the Arts in April of 1927 gave Manookian the opportunity to hear lectures and attend programs that expanded his knowledge of both art and Hawaii. In 1928, he relocated to Makiki, a short distance from the Academy, and became a member of the Honolulu Artist’s Association. Manookian gave up using tempera paint at this time and focused on colorful oil paints in bold, flat areas without varnish or subtle gradations. This color sense reflected memories of his childhood and adolescent exposure to the myriad colored forms of the Byzantine world.

Arman Manookian’s portrayal of Hawaii, like Gauguin’s view of Tahiti, was an idealized vision of an Eden that never really existed except in the imagination of its Colonial inhabitants. Although his work presented the ecstatic vision of an artist, Manookian often secluded himself from others and had begun to increasingly experience mental lows. After the stock market crash of 1929, the  tourist-based Hawaiian economy began to falter and his mural commissions, based on the development of new buildings, began to slow. Manookian’s last mural commission was in December of 1930 for architect Louis Davis’s Waipahu Theater.

During this slow period, Manookian was living downstairs in architect Cyril Lemmon and Rebecca Lemmon’s Black Point home, occasionally painting and giving art lessons. He delivered his last painting “Flamingos in Flight” to the home of interior designer Charles Mackintosh on the seventh of May in 1931. Suffering from severe depression, Manookian  drank poison on the evening of May tenth while his hosts and friends were playing a parlor game upstairs. He stumbled upstairs and collapsed in the kitchen. Taken to Queen’s Hospital in Honolulu, Arman Manookian never regained consciousness and died that Sunday evening at the age of twenty-seven. A memorial exhibition of Manookian’s work was held later in the autumn of 1933 at the Honolulu Academy of the Arts.

Notes : Major Edwin North McClellan’s massive epic “History of U.S. Marines and Origin of Sea Soldiers”, with its many illustrations by Manookian, was never published due lack of finances during the Depression. The only complete record of the work exists on microfilm as recorded by the New York Public Library in 1954. 

Author and art historian John Seed wrote an article entitled “Arman Manookian: Fragile Paradise” which was originally published in the Honolulu Magazine:  https://www.geringerart.com/arman-manookian-fragile-paradise/

John Seed also has a lecture on the life and art of Arman Manookian in an YouTube video entitled “Arman Manookian: An Armenian Artist in Hawaii with John Seed”. 

Freelance writer Chris Gibbon wrote “The Ghost of Manookian” for the November 2021 issue of “Flux: The Current of Hawai’i”. This short biography can be found at: https://fluxhawaii.com/the-ghost-of-manookian/

Top Insert Image: Photographer Unknown, “Private Arman Manookian, Marine Corps Boot Camp”, circa 1923, Vintage Print

Second Insert Image: Arman Manookian, “Maui Snaring the Sun”, 1927, Ink Drawing, Honolulu Museum of Art, Hawaii

Third Insert Image: Arman Manookian, “Early Traders of Hawaii”, 1927, Oil on Canvas, Honolulu Museum of Art

Fourth Insert Image: Arman Manookian, “Pele”, Gridded Study for “Pele” Painting, Colored Pencil and Pencil on Paper, 21.9 x 29.8 cm, Private Collection

Bottom Insert Image: Arman Manookian, Untitled (The Mat Weaver), 2003, Oil on Canvas, 76.7 x 60 cm, Honolulu Museum of Art