In addition to the historical monuments of Ani, Fetvadjian's paintings also documented other Armenian cultural monuments of the Caucasus (e.g., "Tekor basilica" in Kars), the life and the natural landscape of Armenia (e.g., "Oriental Mail", "Mount Aragats," "Lake Sevan"), and portraits of Armenians and other ethnic peoples. As one of the first artists to depict the Armenian Genocide in art, one of Fetvajian's most famous paintings is the "Sasuntsi Kin" ("The Woman of Sasun"). The painting shows a woman breastfeeding her child, a rifle in hand, with the child in the painting representing Armenia. Following the creation of the First Republic of Armenia in 1918, the members of the country's Finance Ministry commissioned Fetvadjian to draw up the new currency (to replace the Russian ruble) and stamps for the nascent state. The printing was conducted in Europe, and some of Fetvadjian's attractive designs featured animal motifs that were found on the decorations in Ani. But just as the banknotes were being printed in Paris, Soviet Russia was completing its conquest of the republic and by December 1920, the Armenian state was finally absorbed by the Soviets. The banknotes were never put into circulation. With the fall of the republic, Fetvadjian moved to the United States in 1922 and lived there for the remainder of his years. He continued to paint and was inducted to the art societies of the universities of Harvard, Columbia and Chicago. He died in Medford, Massachusetts in 1947. Although approached by several prestigious American universities to publish his works, Fetvadjian ultimately donated all of his paintings and drawings to the National Gallery of the Armenian Soviet Socialist Republic. Fetvadjian's works were highly valued for preserving a visual memory of Armenian artwork that otherwise might have been lost forever during the turbulent years following the end of the Russian Empire. Armenian historian Vahan Kurkjian gives credence to that belief, stating "Many valuable relics of Armenian art and architecture of the sixth to thirteenth century, which had escaped the ravages of time were destroyed during the last incursions of 1917-1921, and would have been eventually forgotten had it not been for Fetvadjian's meticulously exact paintings of them." His remains were interred in the capital Yerevan.