XE3F4387 - Tatar Fruiterer, Niko Pirosmani, Albertina Museum exhibition,
Georgian National Museum, Shalva Amiranashvili Museum of Fine Arts, Tbilisi
Niko Pirosmani’s Albertina Museum exhibition
Exhibición de Niko Pirosmani en La Albertina
Niko Pirosmanashvili (georgiano: ნიკო ფიროსმანაშვილი; Mirzaani, Georgia; 5 de mayo de 1862 - 1918), conocido también como Niko Pirosmani, fue un pintor primitivista georgiano.
Niko Pirosmanashvili nació el 5 de mayo de 1862 en el poblado de Mirzaani, provincia de Kajeti, Georgia, hijo de una familia de campesinos, propietarios de un pequeño viñedo. Pronto se encontró huérfano y fue puesto bajo el cuidado de sus dos hermanas mayores. Hacia 1870 se mudó a Tiflis, y en 1872 entró a trabajar como sirviente de familias opulentas. Aprendió a escribir ruso y georgiano. En 1876 regresó a Mirzaani y se empleó como pastor.
Autodidacta, una de sus especialidades fue la pintura directa sobre hule negro. En 1882 abrió un taller en Tbilisi el cual no prosperó. En 1890 trabajó como conductor de trenes, y en 1895 se empleó creando carteles. En 1893 cofundó una granja en Tbilisi que abandonó en 1901. A lo largo de su vida, la cual pasó siempre en la pobreza, se empleó en trabajos comunes que iban desde pintar casas hasta encalar fachadas. A pesar de que sus pinturas lograron una popularidad local su relación con artistas profesionales fue difícil. Ganarse la vida siempre fue una tarea más importante para él que la estética abstracta. En abril de 1918 murió de desnutrición e insuficiencia hepática. Fue enterrado en el cementerio Nino, aunque el lugar exacto se desconoce puesto que no fue registrado.
A inicios del Siglo XX Niko Pirosmanashvili vivió en un pequeño departamento no lejos de la estación de ferrocarriles de Tbilisi. Sus pinturas incluyeron vastas escenas locales y retratos imaginarios de figuras históricas georgianas, como aquellas de Shota Rustaveli y la Reina Tamar, además de retratar georgianos comunes y su quehacer diario.
En 1910 se ganó el entusiasmo crítico del poeta ruso Mijaíl Le-Dantue y del artista Kiril Zdanévich y su hermano Iliá Zdanévich. Éste escribió una carta sobre Pirosmanashvili en el periódico Zakavkázskaia Rech, publicada el 13 de febrero de 1913. También tomó la empresa de publicitar a Piroshmanashvili en Moscú. La edición del 7 de enero del periódico moscovita Moskóvskaia Gazeta contenía una nota sobre la exhibición Mishen en donde se exhibieron algunas obras de pintores autodidactas, entre las cuales se encontraban cuatro de Pirosmanashvili: Retrato de Zdanévich, Naturaleza muerta, Mujer con un jarro de cerveza, y El corzo. Los críticos que escribieron después en el mismo periódico quedaron impresionados por su talento. Ese mismo año se publicó un artículo sobre la obra de Niko Pirosmanashvili en el periódico georgiano Temi.
La Sociedad de Pintores Georgianos, fundada por Dito Shevardnadze en 1916, invitó a Pirosmanashvili a sus reuniones en donde lo acogieron, sin embargo, su relación con la sociedad no fue fácil. A pesar de haber mostrado a la sociedad su pintura Boda georgiana, uno de los miembros publicó una caricatura de él que lo ofendió considerablemente. Su continua pobreza, aunados a los problemas económicos derivados de la Primera Guerra Mundial, provocaron que su vida terminara con su obra sin reconocimiento.
Tras la guerra desarrolló una reputación internacional, al ganarse la admiración como pintor naïf en París y en otros lugares. El primer libro sobre Pirosmanashvili fue publicado en georgiano, ruso y francés en 1926. Inclusive su figura inspiró a Pablo Picasso hacer un esbozo de retrato en 1972. A pesar de que hoy en día han sobrevivido alrededor de 200 pinturas, se han hecho exhibiciones de su obra en diferentes ciudades, desde Kiev (1931), Varsovia (1968), París (1969), Viena (1969), Niza y Marsella (1983), Tokyo (1986), Zurich (1995), Turín (2002), Istanbul (2008), y Vilnius (2008-2009).
es.wikipedia.org/wiki/Niko_Pirosmani
elhurgador.blogspot.com/2018/08/niko-pirosmani-pintura-pa...
Niko Pirosmani (Georgian: ნიკო ფიროსმანი), simply referred to as Nikala (ნიკალა) (1862–1918), was a Georgian naïve painter who posthumously rose to prominence.
Pirosmani was born in the Georgian village of Mirzaani to a peasant family in Kakheti province. His parents, Aslan Pirosmanashvili and Tekle Toklikishvili, were farmers, who owned a small vineyard, with a few cows and oxen. He was later orphaned and left in the care of his two elder sisters, Mariam and Pepe. He moved with them to Tbilisi in 1870. In 1872, while living in a little apartment not far from Tbilisi railway station, he worked as a servant to wealthy families and learned to read and write Russian and Georgian. In 1876, he returned to Mirzaani and worked as a herdsman.
Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882, with self-taught George Zaziashvili, he opened a painting workshop, where they made signboards. In 1890, he worked as a railroad conductor. In 1893, he co-founded a dairy farm in Tbilisi, which he left in 1901. Throughout his life, Pirosmani, who was poor, was willing to take ordinary jobs including housepainting and whitewashing buildings. He also worked for shopkeepers in Tbilisi, creating signboards, paintings, and portraits, according to their orders. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than aesthetic abstractions.
In April 1918, he died in the 1918 flu pandemic resulted from malnutrition and liver failure. He was buried at the Nino cemetery; the exact location was not registered and is unknown.
Pirosmani’s paintings were influenced by the social conditions of his time and place. There are many works about merchants, shopkeepers, workmen, and noblemen groups. Pirosmani was fond of nature and rural life. He rarely employed city landscapes. He made many animal paintings. He was the only Georgian animalist. Pirosmani also was attracted by historical figures and themes such as Shota Rustaveli, Queen Tamar, Giorgi Saakadze, as well as ordinary Georgian people and their everyday lives.
Usually, Pirosmani painted on oilcloth. Unlike other artists, Niko didn’t aim at a pure imitation of the nature and paid no attention to details. Some of his paintings are monochrome. His paintings demonstrate the author's sharp compositional consideration. Placements of the figures are frontal, while faces do not demonstrate a specific mood.
In the 1910s, he won the enthusiasm of the Russian poet Mikhail Le-Dantyu and the artist Kirill Zdanevich and his brother Ilia Zdanevich. Ilia Zhdanevich wrote a letter about Pirosmani to the newspaper Zakavkazskaia Rech, which it published on February 13, 1913. He undertook to publicise Pirosmani's painting in Moscow. The Moscow newspaper Moskovskaia Gazeta of 7 January wrote about the exhibition "Mishen" where self-taught painters exhibited, among them four works by Pirosmani: "Portrait of Zhdanevich", "Still Life", "Woman with a Beer Mug", and "The Roe". Critics writing later in the same newspaper were impressed with his talent.
In the same year, an article about Niko Pirosmani and his art was published in Georgian newspaper Temi.
The Society of Georgian Painters, founded in 1916 by Dito Shevardnadze, invited Pirosmani to its meetings and began to take him up, but his relations with the society were always uneasy. He presented his painting "Georgian Wedding" to the Society. One of the members published a caricature of him, which greatly offended him. His continuing poverty, compounded by the economic problems caused by the First World War, meant that his life ended with his work little recognised.
After his death, Pirosmani gained international reputation when he became admired as a 'naïve' painter in Paris and elsewhere. His paintings were represented at the first big exhibition of Georgian painters in 1918. From 1920 onwards, a number of articles were published about him. The first monograph on Pirosmani was published in 1926 in Georgian, Russian, and French.
Interest in Pirosmani increased in the 1950s.
In 1969, a film about him was made, titled Pirosmani. He inspired a portrait sketch by Pablo Picasso (1972). Pirosmani is also depicted on a Georgian lari bill. A periodic newspaper titled Pirosmani is published in two languages in Istanbul.
Exhibitions of his work have been held in Kiev (1931), Warsaw (1968), Paris (The Louvre) (1969), Vienna (1969), Nice and Marseilles (1983), Tokyo (1986), Zurich (1995), Nantes (1999), Turin (2002), Kiev, Istanbul (2008), Minsk, Vézelay and Vilnius (2008–2009), and Vienna again (2018/19).
Today, 146 of his works are shown in the Art Museum of Georgia and sixteen paintings are exhibited in the Historical-Ethnographic Museum of Sighnaghi. A monument was installed in Tbilisi. There is also the Niko Pirosmanashvili Museum in Mirzaani, Georgia, in one of his abodes.
In March 2011, it was discovered that the writing on the door of Qvrivishvilebi’s wine-cellar in Ozaani was made by Pirosmani. On 31 May 2011, during an investigation, experts discovered a painting, which proved to be "Wounded Soldier" by Pirosmani. The painting was given to the National Gallery of Georgia.
en.wikipedia.org/wiki/Niko_Pirosmani
XE3F4387 - Tatar Fruiterer, Niko Pirosmani, Albertina Museum exhibition,
Georgian National Museum, Shalva Amiranashvili Museum of Fine Arts, Tbilisi
Niko Pirosmani’s Albertina Museum exhibition
Exhibición de Niko Pirosmani en La Albertina
Niko Pirosmanashvili (georgiano: ნიკო ფიროსმანაშვილი; Mirzaani, Georgia; 5 de mayo de 1862 - 1918), conocido también como Niko Pirosmani, fue un pintor primitivista georgiano.
Niko Pirosmanashvili nació el 5 de mayo de 1862 en el poblado de Mirzaani, provincia de Kajeti, Georgia, hijo de una familia de campesinos, propietarios de un pequeño viñedo. Pronto se encontró huérfano y fue puesto bajo el cuidado de sus dos hermanas mayores. Hacia 1870 se mudó a Tiflis, y en 1872 entró a trabajar como sirviente de familias opulentas. Aprendió a escribir ruso y georgiano. En 1876 regresó a Mirzaani y se empleó como pastor.
Autodidacta, una de sus especialidades fue la pintura directa sobre hule negro. En 1882 abrió un taller en Tbilisi el cual no prosperó. En 1890 trabajó como conductor de trenes, y en 1895 se empleó creando carteles. En 1893 cofundó una granja en Tbilisi que abandonó en 1901. A lo largo de su vida, la cual pasó siempre en la pobreza, se empleó en trabajos comunes que iban desde pintar casas hasta encalar fachadas. A pesar de que sus pinturas lograron una popularidad local su relación con artistas profesionales fue difícil. Ganarse la vida siempre fue una tarea más importante para él que la estética abstracta. En abril de 1918 murió de desnutrición e insuficiencia hepática. Fue enterrado en el cementerio Nino, aunque el lugar exacto se desconoce puesto que no fue registrado.
A inicios del Siglo XX Niko Pirosmanashvili vivió en un pequeño departamento no lejos de la estación de ferrocarriles de Tbilisi. Sus pinturas incluyeron vastas escenas locales y retratos imaginarios de figuras históricas georgianas, como aquellas de Shota Rustaveli y la Reina Tamar, además de retratar georgianos comunes y su quehacer diario.
En 1910 se ganó el entusiasmo crítico del poeta ruso Mijaíl Le-Dantue y del artista Kiril Zdanévich y su hermano Iliá Zdanévich. Éste escribió una carta sobre Pirosmanashvili en el periódico Zakavkázskaia Rech, publicada el 13 de febrero de 1913. También tomó la empresa de publicitar a Piroshmanashvili en Moscú. La edición del 7 de enero del periódico moscovita Moskóvskaia Gazeta contenía una nota sobre la exhibición Mishen en donde se exhibieron algunas obras de pintores autodidactas, entre las cuales se encontraban cuatro de Pirosmanashvili: Retrato de Zdanévich, Naturaleza muerta, Mujer con un jarro de cerveza, y El corzo. Los críticos que escribieron después en el mismo periódico quedaron impresionados por su talento. Ese mismo año se publicó un artículo sobre la obra de Niko Pirosmanashvili en el periódico georgiano Temi.
La Sociedad de Pintores Georgianos, fundada por Dito Shevardnadze en 1916, invitó a Pirosmanashvili a sus reuniones en donde lo acogieron, sin embargo, su relación con la sociedad no fue fácil. A pesar de haber mostrado a la sociedad su pintura Boda georgiana, uno de los miembros publicó una caricatura de él que lo ofendió considerablemente. Su continua pobreza, aunados a los problemas económicos derivados de la Primera Guerra Mundial, provocaron que su vida terminara con su obra sin reconocimiento.
Tras la guerra desarrolló una reputación internacional, al ganarse la admiración como pintor naïf en París y en otros lugares. El primer libro sobre Pirosmanashvili fue publicado en georgiano, ruso y francés en 1926. Inclusive su figura inspiró a Pablo Picasso hacer un esbozo de retrato en 1972. A pesar de que hoy en día han sobrevivido alrededor de 200 pinturas, se han hecho exhibiciones de su obra en diferentes ciudades, desde Kiev (1931), Varsovia (1968), París (1969), Viena (1969), Niza y Marsella (1983), Tokyo (1986), Zurich (1995), Turín (2002), Istanbul (2008), y Vilnius (2008-2009).
es.wikipedia.org/wiki/Niko_Pirosmani
elhurgador.blogspot.com/2018/08/niko-pirosmani-pintura-pa...
Niko Pirosmani (Georgian: ნიკო ფიროსმანი), simply referred to as Nikala (ნიკალა) (1862–1918), was a Georgian naïve painter who posthumously rose to prominence.
Pirosmani was born in the Georgian village of Mirzaani to a peasant family in Kakheti province. His parents, Aslan Pirosmanashvili and Tekle Toklikishvili, were farmers, who owned a small vineyard, with a few cows and oxen. He was later orphaned and left in the care of his two elder sisters, Mariam and Pepe. He moved with them to Tbilisi in 1870. In 1872, while living in a little apartment not far from Tbilisi railway station, he worked as a servant to wealthy families and learned to read and write Russian and Georgian. In 1876, he returned to Mirzaani and worked as a herdsman.
Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882, with self-taught George Zaziashvili, he opened a painting workshop, where they made signboards. In 1890, he worked as a railroad conductor. In 1893, he co-founded a dairy farm in Tbilisi, which he left in 1901. Throughout his life, Pirosmani, who was poor, was willing to take ordinary jobs including housepainting and whitewashing buildings. He also worked for shopkeepers in Tbilisi, creating signboards, paintings, and portraits, according to their orders. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than aesthetic abstractions.
In April 1918, he died in the 1918 flu pandemic resulted from malnutrition and liver failure. He was buried at the Nino cemetery; the exact location was not registered and is unknown.
Pirosmani’s paintings were influenced by the social conditions of his time and place. There are many works about merchants, shopkeepers, workmen, and noblemen groups. Pirosmani was fond of nature and rural life. He rarely employed city landscapes. He made many animal paintings. He was the only Georgian animalist. Pirosmani also was attracted by historical figures and themes such as Shota Rustaveli, Queen Tamar, Giorgi Saakadze, as well as ordinary Georgian people and their everyday lives.
Usually, Pirosmani painted on oilcloth. Unlike other artists, Niko didn’t aim at a pure imitation of the nature and paid no attention to details. Some of his paintings are monochrome. His paintings demonstrate the author's sharp compositional consideration. Placements of the figures are frontal, while faces do not demonstrate a specific mood.
In the 1910s, he won the enthusiasm of the Russian poet Mikhail Le-Dantyu and the artist Kirill Zdanevich and his brother Ilia Zdanevich. Ilia Zhdanevich wrote a letter about Pirosmani to the newspaper Zakavkazskaia Rech, which it published on February 13, 1913. He undertook to publicise Pirosmani's painting in Moscow. The Moscow newspaper Moskovskaia Gazeta of 7 January wrote about the exhibition "Mishen" where self-taught painters exhibited, among them four works by Pirosmani: "Portrait of Zhdanevich", "Still Life", "Woman with a Beer Mug", and "The Roe". Critics writing later in the same newspaper were impressed with his talent.
In the same year, an article about Niko Pirosmani and his art was published in Georgian newspaper Temi.
The Society of Georgian Painters, founded in 1916 by Dito Shevardnadze, invited Pirosmani to its meetings and began to take him up, but his relations with the society were always uneasy. He presented his painting "Georgian Wedding" to the Society. One of the members published a caricature of him, which greatly offended him. His continuing poverty, compounded by the economic problems caused by the First World War, meant that his life ended with his work little recognised.
After his death, Pirosmani gained international reputation when he became admired as a 'naïve' painter in Paris and elsewhere. His paintings were represented at the first big exhibition of Georgian painters in 1918. From 1920 onwards, a number of articles were published about him. The first monograph on Pirosmani was published in 1926 in Georgian, Russian, and French.
Interest in Pirosmani increased in the 1950s.
In 1969, a film about him was made, titled Pirosmani. He inspired a portrait sketch by Pablo Picasso (1972). Pirosmani is also depicted on a Georgian lari bill. A periodic newspaper titled Pirosmani is published in two languages in Istanbul.
Exhibitions of his work have been held in Kiev (1931), Warsaw (1968), Paris (The Louvre) (1969), Vienna (1969), Nice and Marseilles (1983), Tokyo (1986), Zurich (1995), Nantes (1999), Turin (2002), Kiev, Istanbul (2008), Minsk, Vézelay and Vilnius (2008–2009), and Vienna again (2018/19).
Today, 146 of his works are shown in the Art Museum of Georgia and sixteen paintings are exhibited in the Historical-Ethnographic Museum of Sighnaghi. A monument was installed in Tbilisi. There is also the Niko Pirosmanashvili Museum in Mirzaani, Georgia, in one of his abodes.
In March 2011, it was discovered that the writing on the door of Qvrivishvilebi’s wine-cellar in Ozaani was made by Pirosmani. On 31 May 2011, during an investigation, experts discovered a painting, which proved to be "Wounded Soldier" by Pirosmani. The painting was given to the National Gallery of Georgia.
en.wikipedia.org/wiki/Niko_Pirosmani