[1] Bahruz Kangarli's artistic legacy, which consists of about 2000 works of various themes and genres, has attracted the attention of the general public, has been collected successively and has become the decoration of exhibitions and museum expositions.

[3][4] The artist's mother, Aziz, died when Bahruz was a baby, after that, his father, Shirali Bey, married Shirin Khanim.

[6] Teachers such as Georgian painters Gigo Gabashvili, Alexander Mrevlesvili, sculptor Yakov Nikoladze, Oskar Shmerling, who cooperated with "Molla Nasreddin" magazine, taught their students the principles of professional painting and the achievements of European culture.

Bahruz Kangarli's drawings and paintings during his student years under the influence of "Molla Nasreddin" magazine clearly prove this.

He was not satisfied with copying lifeless plaster statues, but at the same time, he also painted portraits of his teachers and fellow students from living nature, and succeeds in reviving the appearance, likeness, and psychological traits of a person in a realistic manner.

[9] During his school years, Bahruz Kangarli spent his summer vacations in the lush meadows of Georgia, on the shores of the Black Sea, as well as in his native Nakhchivan.

The leading intellectuals of the city highly appreciated the exhibition, and in an article published in the press, they wished that "Bahruz bey succeeds in creating more beautiful and more paintings".

[9] After completing his studies and returning to Nakhchivan, Bahruz Kangarli began to play a useful role in the cultural life of his hometown.

[9] He exhibited his works in his home, attached special importance to the first initiatives in the direction of artistic education and aesthetic culture of young people, took special pleasure in attracting the artistic demands of modern people to fine art and mass types of folk creativity, and found solace in the fruits of the work done in this field.

[10] Bahruz Kangarli's free creative activity coincided with the years of intense socio-political conflict, especially the period of aggression and terrorist operations committed by Armenians against the people of Azerbaijan.

The artist, who understood and revived life from a realistic perspective, revealed his aesthetic practice and said:[10] I describe this strange world that I see with colors.

[14] In the summer of 1920, Nakhchivan was occupied by the Bolsheviks' Red Army, the Soviet government was established, and a number of measures were implemented in the field of education and culture.

On February 15, 1921, at the initiative of the Nakhchivan Revolutionary Committee, an exhibition of about 500 paintings by Bahruz Kangarlini was shown, and a certain part of the funds obtained from the sale of some works to the population was donated to an orphanage in the city according to the artist's wish.

The biography of Bahruz Kangarli shows that a physically weak, mild-mannered, soft-tempered, and hard-working person suffered financial hardships and moral deprivations during his short life, did not receive proper care and assistance from official government offices and wealthy individuals, witnessed the indifferent attitude of ignorant and backward people.

[7] The artist paid particular attention to the requirements of the portrait genre even during his studies, and mastered the habits of analyzing the human form with special demand.

During his education years and in the first stage of his creativity, Bahruz Kangarli paid special attention to the portrait genre, from the first drafts, his class work in the art school, from copies of classical sculptures, to the photos of his close friends, acquaintances, and teachers, most of his early works belonged to the portrait genre.

His broad face surrounded by long black hair, thick eyebrows, bright eyes that are forward looking create a vivid image of the inner world and penetrating personality of a dreamy young man.

In the educational procedures of art schools, it is one of the important requirements to move motionless plaster sculptures and revive the anatomical structure and shape of the human body through light-shadow contrasts.

This image, in the quiet eyes of which one can read the reserved expression of the elderly, belongs to the Georgian people according to the specific signs of the national type.

These poor people, whose faces are pale, their clothes are torn, and their fate is bitter, are drowning in the sea of sorrow and are waiting for help in asking for mercy, cure, and salvation.

[17] The inner emotions and psychological feelings of the kind-faced, sincere young man in the portrait "Refugee boy from the village of Janfada" are an expression of the philosophy of love for people and spiritual purity.

The image of this young man, with his head slightly bent on his right shoulder and his penetrating gaze fixed on the audience, is a living embodiment of Bahruz Kangarli's humanism.

[16] In June 2002, the President of the Republic of Azerbaijan, Heydar Aliyev, participated in the opening ceremony of the museum established in memory of Bahruz Kangarli in the city of Nakhchivan and gave a long speech.