St. George monastery in Ubisa

Ubisa St. George monastery is located close to the main highway that runes all across the country till the Black Sea shore. It stands on the slope descanting toward Dzirula riverbed. The monastery was founded in 20-ies of IX c. At the insistence of the King of Abkhazs Demetre II this place has been selected by St. Grigol (Gregory) of Khandzta, famous clerical and founder of many monasteries and save heavens in southern Georgia. A rather lengthy single-nave temple faced with gallstone slabs is the main construction of Ubisa monastery. It is contemporaneous of St. Grigol Khandzteli. The construction is rather simple with shallow wall in the interior and triangular decoration arranged just over the sanctuary window from the outside – the only adornment of the monastery exterior (besides the mentioned decoration patterns, there are several slabs with inscriptions, performed within the fretwork frame, or on slabs with images, for example of a lion). Columned iconostases in the church interior – on of the best samples of architrave iconostases in Georgia, also seems to be of the initial times.

Later on chapels were attached to the large main hall of the church from three sides. The western one with the configuration of domed church in the most noteworthy of all three annexes, where the ossuary of the late-time owners of Ubisa – the noble house of the Prince Abashidzes was arranged. In XVI c. one of the representatives of the same House, someone Demetre built another attachment from the west, richly adorned with fretwork. Wall painting preserved in the interior of the church is one of the most precious adornments of Ubisa monastery. The XIV c. paintings performed by the artist Gerasim, apparently representative of the local artistic school is one of the best samples of so called Palaeologus style church painting. All painting icons, two of which are with doors, coupled with a range of plea icons – integral parts of the iconostas, ordered by someone Bablak Laklakisdze should be contemporaneous to wall painting as they reveal strong closeness to it both artistically and principally (the icons are currently exposed in Sh. Amiranashvili State Museum of Art of the National Museum of Georgia).

There are several other buildings on the territory of Ubisa monastery with different degrees of damages. The residential tower is the most important of them. According to the construction inscription curved on one of the stone slabs Svimeon the archbishop of Chkondidi built the tower in 1141. This fore-storied building contains the residential area (with a large fireplace and a dressing/rest room) a shrine and a square for training and contests. This construction faced with gallstone slabs and with the exterior adorned with brickwork arcades or hoops is one of the best and perfectly preserved samples of Georgian medieval secular architecture.

Убиса – средневековый монастырский комплекс в Грузии, в регионеИмерети, около Харагаули.Монастырский комплекс включает в себя монастырь Св. Георгия 9-го века, основанный святым Григорием из Хандзты, 4-этажное здание (1141), фрагменты оборонительных стен 12-го века и несколько других зданий и сооружений. В монастыре находится уникальный цикл фресок с конца 14 века сделаны Дамианом видимо под влиянием искусства византийского Палаилоганского периода (1261-1453).

Монастырь также известен своим медом, сделанным монахами.

St. George monastery in Ubisa

Ubisa St. George monastery is located close to the main highway that runes all across the country till the Black Sea shore. It stands on the slope descanting toward Dzirula riverbed. The monastery was founded in 20-ies of IX c. At the insistence of the King of Abkhazs Demetre II this place has been selected by St. Grigol (Gregory) of Khandzta, famous clerical and founder of many monasteries and save heavens in southern Georgia. A rather lengthy single-nave temple faced with gallstone slabs is the main construction of Ubisa monastery. It is contemporaneous of St. Grigol Khandzteli. The construction is rather simple with shallow wall in the interior and triangular decoration arranged just over the sanctuary window from the outside – the only adornment of the monastery exterior (besides the mentioned decoration patterns, there are several slabs with inscriptions, performed within the fretwork frame, or on slabs with images, for example of a lion). Columned iconostases in the church interior – on of the best samples of architrave iconostases in Georgia, also seems to be of the initial times.

Later on chapels were attached to the large main hall of the church from three sides. The western one with the configuration of domed church in the most noteworthy of all three annexes, where the ossuary of the late-time owners of Ubisa – the noble house of the Prince Abashidzes was arranged. In XVI c. one of the representatives of the same House, someone Demetre built another attachment from the west, richly adorned with fretwork. Wall painting preserved in the interior of the church is one of the most precious adornments of Ubisa monastery. The XIV c. paintings performed by the artist Gerasim, apparently representative of the local artistic school is one of the best samples of so called Palaeologus style church painting. All painting icons, two of which are with doors, coupled with a range of plea icons – integral parts of the iconostas, ordered by someone Bablak Laklakisdze should be contemporaneous to wall painting as they reveal strong closeness to it both artistically and principally (the icons are currently exposed in Sh. Amiranashvili State Museum of Art of the National Museum of Georgia).

There are several other buildings on the territory of Ubisa monastery with different degrees of damages. The residential tower is the most important of them. According to the construction inscription curved on one of the stone slabs Svimeon the archbishop of Chkondidi built the tower in 1141. This fore-storied building contains the residential area (with a large fireplace and a dressing/rest room) a shrine and a square for training and contests. This construction faced with gallstone slabs and with the exterior adorned with brickwork arcades or hoops is one of the best and perfectly preserved samples of Georgian medieval secular architecture.

Убиса – средневековый монастырский комплекс в Грузии, в регионеИмерети, около Харагаули.Монастырский комплекс включает в себя монастырь Св. Георгия 9-го века, основанный святым Григорием из Хандзты, 4-этажное здание (1141), фрагменты оборонительных стен 12-го века и несколько других зданий и сооружений. В монастыре находится уникальный цикл фресок с конца 14 века сделаны Дамианом видимо под влиянием искусства византийского Палаилоганского периода (1261-1453).

Монастырь также известен своим медом, сделанным монахами.

St. George monastery in Ubisa

Ubisa St. George monastery is located close to the main highway that runes all across the country till the Black Sea shore. It stands on the slope descanting toward Dzirula riverbed. The monastery was founded in 20-ies of IX c. At the insistence of the King of Abkhazs Demetre II this place has been selected by St. Grigol (Gregory) of Khandzta, famous clerical and founder of many monasteries and save heavens in southern Georgia. A rather lengthy single-nave temple faced with gallstone slabs is the main construction of Ubisa monastery. It is contemporaneous of St. Grigol Khandzteli. The construction is rather simple with shallow wall in the interior and triangular decoration arranged just over the sanctuary window from the outside – the only adornment of the monastery exterior (besides the mentioned decoration patterns, there are several slabs with inscriptions, performed within the fretwork frame, or on slabs with images, for example of a lion). Columned iconostases in the church interior – on of the best samples of architrave iconostases in Georgia, also seems to be of the initial times.

Later on chapels were attached to the large main hall of the church from three sides. The western one with the configuration of domed church in the most noteworthy of all three annexes, where the ossuary of the late-time owners of Ubisa – the noble house of the Prince Abashidzes was arranged. In XVI c. one of the representatives of the same House, someone Demetre built another attachment from the west, richly adorned with fretwork. Wall painting preserved in the interior of the church is one of the most precious adornments of Ubisa monastery. The XIV c. paintings performed by the artist Gerasim, apparently representative of the local artistic school is one of the best samples of so called Palaeologus style church painting. All painting icons, two of which are with doors, coupled with a range of plea icons – integral parts of the iconostas, ordered by someone Bablak Laklakisdze should be contemporaneous to wall painting as they reveal strong closeness to it both artistically and principally (the icons are currently exposed in Sh. Amiranashvili State Museum of Art of the National Museum of Georgia).

There are several other buildings on the territory of Ubisa monastery with different degrees of damages. The residential tower is the most important of them. According to the construction inscription curved on one of the stone slabs Svimeon the archbishop of Chkondidi built the tower in 1141. This fore-storied building contains the residential area (with a large fireplace and a dressing/rest room) a shrine and a square for training and contests. This construction faced with gallstone slabs and with the exterior adorned with brickwork arcades or hoops is one of the best and perfectly preserved samples of Georgian medieval secular architecture.

Убиса – средневековый монастырский комплекс в Грузии, в регионеИмерети, около Харагаули.Монастырский комплекс включает в себя монастырь Св. Георгия 9-го века, основанный святым Григорием из Хандзты, 4-этажное здание (1141), фрагменты оборонительных стен 12-го века и несколько других зданий и сооружений. В монастыре находится уникальный цикл фресок с конца 14 века сделаны Дамианом видимо под влиянием искусства византийского Палаилоганского периода (1261-1453).

Монастырь также известен своим медом, сделанным монахами.

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

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

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

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

Anchiskhati Triptych. 6th c. 12th c. 14th c. 17th c. 19th c. The Shalva Amiranashvili Museum of Fine Arts, Tbilisi, Georgia

Later, in about 1308-1334, a special triptych case was created for the venerable image, donated by the powerful aristocratic family of Jakeli, governors of the south-western province of Samtskhe. The inner parts of the lateral wings depict seven scenes from the Great Twelve Feasts executed in repoussé. The Ascension adorns the semi-circular top; the Annunciation, Nativity and Baptism are placed on the left wing; and the Transfiguration, Crucifixion and Anastasis on the right.

****************************************************************

The icon of ancha or anchiskhati, a replica of the holy face of edessa the image of christ not made by human hand, is one of the major relics of the georgian church. This is the earliest preserved copy of the image of christ, which according to christian tradition was miraculously imprinted on cloth during his earthly life. The mandylion is directly connected with orthodox christian teaching, proving the real incarnation of christ. Moreover, the image not made by human hand is also perceived as a legitimation of christian images. During the iconoclastic controversy, the mandylion was one of the most important arguments for the iconophiles (those who venerated images), who claimed the legitimacy of images for the christian church.

Source:

atinati.com/news/614370bc6287dd00385aabc6

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

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

Kinderloser Millionär und die arme Frau mit Kindern

Childless Millionaire and the Poor Woman with Children

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

A childless, rich couple takes a newborn from a poor woman. Pirosmani inscribed the two groups of people with "millionaire, childless" and "poor woman with children". He does not present the encounter spatially, but juxtaposes the persons who look like cut-out in parallel to each other. The wealth of the couple is shown by the clothing suit, coat, gold buttons, shoes and jewelry -. The man has a clean trimmed beard, the woman with the conspicuously made-up lips wears an elaborate hairstyle. The bare-footed poor woman is accompanied by her two young children: a widow, alone, without a husband; a baby in her arms, which she still breastfeeds at the moment of delivery. Four colors orchestrate this image: black and white as well as olive green and blue.

Ein kinderloses, reiches Paar nimmt ein Neugeborenes von einer armen Frau entgegen. Pirosmani beschriftet die beiden Personengruppen mit "Millionär, kinderlos" und "Arme Frau mit Kindern". Er stellt die Begegnung nicht räumlich dar, sondern reiht die wie ausgeschnitten wirkenden Personen bildparallel nebeneinander. Der Reichtum des Ehepaars wird durch die Kleidung Anzug, Mantel, Goldknöpfe, Schuhe und Schmuck - gezeigt. Der Mann hat einen sauber gestutzten Bart, die Frau mit den auffällig geschminkten Lippen trägt eine aufwendige Frisur. Die bloßfüßige arme Frau wird von ihren beiden kleinen Kindern begleitet: eine Witwe, allein, ohne Ehemann; im Arm ein Wickelkind, das sie noch im Moment der Übergabe stillt. Vier Farben orchestrieren dieses Bild: Schwarz-Weiß sowie Olivgrün und Blau.

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Kinderloser Millionär und die arme Frau mit Kindern

Childless Millionaire and the Poor Woman with Children

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

A childless, rich couple takes a newborn from a poor woman. Pirosmani inscribed the two groups of people with "millionaire, childless" and "poor woman with children". He does not present the encounter spatially, but juxtaposes the persons who look like cut-out in parallel to each other. The wealth of the couple is shown by the clothing suit, coat, gold buttons, shoes and jewelry -. The man has a clean trimmed beard, the woman with the conspicuously made-up lips wears an elaborate hairstyle. The bare-footed poor woman is accompanied by her two young children: a widow, alone, without a husband; a baby in her arms, which she still breastfeeds at the moment of delivery. Four colors orchestrate this image: black and white as well as olive green and blue.

Ein kinderloses, reiches Paar nimmt ein Neugeborenes von einer armen Frau entgegen. Pirosmani beschriftet die beiden Personengruppen mit "Millionär, kinderlos" und "Arme Frau mit Kindern". Er stellt die Begegnung nicht räumlich dar, sondern reiht die wie ausgeschnitten wirkenden Personen bildparallel nebeneinander. Der Reichtum des Ehepaars wird durch die Kleidung Anzug, Mantel, Goldknöpfe, Schuhe und Schmuck - gezeigt. Der Mann hat einen sauber gestutzten Bart, die Frau mit den auffällig geschminkten Lippen trägt eine aufwendige Frisur. Die bloßfüßige arme Frau wird von ihren beiden kleinen Kindern begleitet: eine Witwe, allein, ohne Ehemann; im Arm ein Wickelkind, das sie noch im Moment der Übergabe stillt. Vier Farben orchestrieren dieses Bild: Schwarz-Weiß sowie Olivgrün und Blau.

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Weiße Sau mit Ferkeln

White Sow with Piglets

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The history of modernism is for a long time a history of resistance: in Paris and Barcelona, ​​in Munich and Berlin, young artists revolt against the academies and the virtuoso but superficial salon painting.

The goal of this international departure of modernity is an art of authenticity. It is practiced in the art of forlornism, for which the avant-gardes use the child's drawing and the Sunday painting of the dilettante as well as the art of the mentally ill or the alleged primitivism of African and oceanic sculpture.

For the neo-primitivism of the early Russian avant-garde, Niko Pirosmani, born in 1862 in Tbilisi, is the most important obstetrician from the ancestral line of the unskilled.

What the French customs officer and sunday painter Henri Rousseau in Paris is for Picasso, Braque and Modigliani means Pirosmani for the Russian avant-garde: without the deeply felt, simple form of the animals and figures of Pirosmani, always shown frontally or in a strict profile, is the early art of Chagall and Malevich and of Goncharova and Larionov not thinkable.

The monumental and magical poetry of Pirosmani's isolated figures has cast a spell over the pioneers of modernism at their first exhibition in 1913. Pirosmani is hailed as the herald of the authentic art not deformed by the academies. He is the fixed star on the way to the primal simplicity of the folk soul.

Picasso also admires the iconic simplicity and memorable power of Pirosmani's painting. Even in old age, the Spaniard dedicates an etching to the Georgian.

Pirosmani did not live to see the appreciation and success of his art. The lack of understanding in his homeland and the outbreak of the First World War thwart further exhibitions. What Pirosmani sells during his lifetime on shop signs and portraits, he is paid in kind, wine and food.

Impoverished and homeless, Niko Pirosmani dies in 1918 in the damp, cold basement of a tavern in Tbilisi.

Die Geschichte der Moderne ist über weite Strecken eine Geschichte des Widerstands: In Paris und Barcelona, in München und Berlin revoltieren junge Künstler gegen die Akademien und die virtuose, aber oberflächliche Salonmalerei.

Ziel jenes internationalen Aufbruchs der Moderne ist eine Kunst des Authentischen. Man übt sich in der Kunst des Verlernens, wofür die Avantgarden die Kinderzeichnung und die Sonntagsmalerei der Dilettanten ebenso zu Hilfe nehmen wie die Bildnerei von Geisteskranken oder den vermeintlichen Primitivismus der afrikanischen und ozeanischen Skulptur.

Für den Neoprimitivismus der frühen russischen Avantgarde ist der 1862 in Tiflis geborene Niko Pirosmani der bedeutendste Geburtshelfer aus der Ahnenreihe der Ungelernten.

Was der französische Zöllner und Sonntagsmaler Henri Rousseau in Paris für Picasso, Braque und Modigliani ist, bedeutet Pirosmani für die russische Avantgarde: Ohne die tief empfundene, einfache Form der stets frontal oder im strengen Profil gezeigten Tiere und Gestalten Pirosmanis ist die frühe Kunst von Chagall und Malewitsch von Gontscharowa und Larionow nicht zu denken.

Die Monumentalität und magische Poesie von Pirosmanis isolierten Figuren haben die Bahnbrecher der Moderne bereits bei ihrer ersten Ausstellung 1913 in den Bann gezogen. Pirosmani wird als Herold der authentischen, der durch die Akademien nicht verbildeten Kunst gefeiert. Er ist der Fixstern auf dem Weg zur urtümlichen Einfachheit der Volksseele.

Auch Picasso bewundert an Pirosmanis Malerei die ikonische Schlichtheit und einprägsame Kraft. Noch im Alter widmet der Spanier dem Georgier eine Radierung.

Pirosmani sollte die Wertschätzung und den Erfolg seiner Kunst nicht mehr erleben. Das Unverständnis in seiner Heimat und der Ausbruch des Ersten Weltkrieges vereiteln weitere Ausstellungen. Was Pirosmani zu Lebzeiten an Ladenschildern und Porträts verkauft, wird ihm in Naturalien, Wein und Essen, bezahlt.

Verarmt und obdachlos stirbt Niko Pirosmani 1918 im feuchten, kalten Kellerverschlag einer Taverne in Tiflis.

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Kinderloser Millionär und die arme Frau mit Kindern

Childless Millionaire and the Poor Woman with Children

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

A childless, rich couple takes a newborn from a poor woman. Pirosmani inscribed the two groups of people with "millionaire, childless" and "poor woman with children". He does not present the encounter spatially, but juxtaposes the persons who look like cut-out in parallel to each other. The wealth of the couple is shown by the clothing suit, coat, gold buttons, shoes and jewelry -. The man has a clean trimmed beard, the woman with the conspicuously made-up lips wears an elaborate hairstyle. The bare-footed poor woman is accompanied by her two young children: a widow, alone, without a husband; a baby in her arms, which she still breastfeeds at the moment of delivery. Four colors orchestrate this image: black and white as well as olive green and blue.

Ein kinderloses, reiches Paar nimmt ein Neugeborenes von einer armen Frau entgegen. Pirosmani beschriftet die beiden Personengruppen mit "Millionär, kinderlos" und "Arme Frau mit Kindern". Er stellt die Begegnung nicht räumlich dar, sondern reiht die wie ausgeschnitten wirkenden Personen bildparallel nebeneinander. Der Reichtum des Ehepaars wird durch die Kleidung Anzug, Mantel, Goldknöpfe, Schuhe und Schmuck - gezeigt. Der Mann hat einen sauber gestutzten Bart, die Frau mit den auffällig geschminkten Lippen trägt eine aufwendige Frisur. Die bloßfüßige arme Frau wird von ihren beiden kleinen Kindern begleitet: eine Witwe, allein, ohne Ehemann; im Arm ein Wickelkind, das sie noch im Moment der Übergabe stillt. Vier Farben orchestrieren dieses Bild: Schwarz-Weiß sowie Olivgrün und Blau.

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Amme mit Säugling

Nurse with a Child

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Eisbärweibchen mit ihren Jungen

Polar She-Bear with Cubs

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Tbilisi, Georgien, Shalva Amiranashvili Museum of Fine Arts, Inventar-Nr. N. Tb331

Artist: Beka Opizari, goldsmith; 1184/1207, Erweiterung: 1301/1315, Restaurierung: 1715, Restaurierung: 1825

www.bildindex.de/obj07961378.html#|home

Arzt auf einem Esel

Physician on a Donkey

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Fuchs

Fox

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The history of modernism is for a long time a history of resistance: in Paris and Barcelona, ​​in Munich and Berlin, young artists revolt against the academies and the virtuoso but superficial salon painting.

The goal of this international departure of modernity is an art of authenticity. It is practiced in the art of forlornism, for which the avant-gardes use the child's drawing and the Sunday painting of the dilettante as well as the art of the mentally ill or the alleged primitivism of African and oceanic sculpture.

For the neo-primitivism of the early Russian avant-garde, Niko Pirosmani, born in 1862 in Tbilisi, is the most important obstetrician from the ancestral line of the unskilled.

What the French customs officer and sunday painter Henri Rousseau in Paris is for Picasso, Braque and Modigliani means Pirosmani for the Russian avant-garde: without the deeply felt, simple form of the animals and figures of Pirosmani, always shown frontally or in a strict profile, is the early art of Chagall and Malevich and of Goncharova and Larionov not thinkable.

The monumental and magical poetry of Pirosmani's isolated figures has cast a spell over the pioneers of modernism at their first exhibition in 1913. Pirosmani is hailed as the herald of the authentic art not deformed by the academies. He is the fixed star on the way to the primal simplicity of the folk soul.

Picasso also admires the iconic simplicity and memorable power of Pirosmani's painting. Even in old age, the Spaniard dedicates an etching to the Georgian.

Pirosmani did not live to see the appreciation and success of his art. The lack of understanding in his homeland and the outbreak of the First World War thwart further exhibitions. What Pirosmani sells during his lifetime on shop signs and portraits, he is paid in kind, wine and food.

Impoverished and homeless, Niko Pirosmani dies in 1918 in the damp, cold basement of a tavern in Tbilisi.

Die Geschichte der Moderne ist über weite Strecken eine Geschichte des Widerstands: In Paris und Barcelona, in München und Berlin revoltieren junge Künstler gegen die Akademien und die virtuose, aber oberflächliche Salonmalerei.

Ziel jenes internationalen Aufbruchs der Moderne ist eine Kunst des Authentischen. Man übt sich in der Kunst des Verlernens, wofür die Avantgarden die Kinderzeichnung und die Sonntagsmalerei der Dilettanten ebenso zu Hilfe nehmen wie die Bildnerei von Geisteskranken oder den vermeintlichen Primitivismus der afrikanischen und ozeanischen Skulptur.

Für den Neoprimitivismus der frühen russischen Avantgarde ist der 1862 in Tiflis geborene Niko Pirosmani der bedeutendste Geburtshelfer aus der Ahnenreihe der Ungelernten.

Was der französische Zöllner und Sonntagsmaler Henri Rousseau in Paris für Picasso, Braque und Modigliani ist, bedeutet Pirosmani für die russische Avantgarde: Ohne die tief empfundene, einfache Form der stets frontal oder im strengen Profil gezeigten Tiere und Gestalten Pirosmanis ist die frühe Kunst von Chagall und Malewitsch von Gontscharowa und Larionow nicht zu denken.

Die Monumentalität und magische Poesie von Pirosmanis isolierten Figuren haben die Bahnbrecher der Moderne bereits bei ihrer ersten Ausstellung 1913 in den Bann gezogen. Pirosmani wird als Herold der authentischen, der durch die Akademien nicht verbildeten Kunst gefeiert. Er ist der Fixstern auf dem Weg zur urtümlichen Einfachheit der Volksseele.

Auch Picasso bewundert an Pirosmanis Malerei die ikonische Schlichtheit und einprägsame Kraft. Noch im Alter widmet der Spanier dem Georgier eine Radierung.

Pirosmani sollte die Wertschätzung und den Erfolg seiner Kunst nicht mehr erleben. Das Unverständnis in seiner Heimat und der Ausbruch des Ersten Weltkrieges vereiteln weitere Ausstellungen. Was Pirosmani zu Lebzeiten an Ladenschildern und Porträts verkauft, wird ihm in Naturalien, Wein und Essen, bezahlt.

Verarmt und obdachlos stirbt Niko Pirosmani 1918 im feuchten, kalten Kellerverschlag einer Taverne in Tiflis.

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Die Schauspielerin Margarita

The Actress Margarita

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

To provide proper storage for the textile and embroidery collections at the Shalva Amiranashvili Art Museum in Tbilisi. The collection, consisting of items made between the 12th and the 19th centuries, includes objects embroidered with gold and silver and decorated with precious stones. There are over 5,000 pieces in the collection, including ecclesiastical and heirloom objects, many from Georgia, but also from Persian and Byzantine origin. The project will also digitize the inventory, and initiate conservation activities.

Frau mit Bierglas

Woman with a Mug of Beer

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Hase

Hare

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

27 September, 2010 - 13:09

Photo Exhibition Georgia - Myth and Reality to be Opened at Art Museum

Photo Exhibition Georgia - Myth and Reality is scheduled tto be opened on September 29 at 18:00 hrs at Shota Amiranashvili Art Museum of Georgia. Photo works by two photographers such as Wolfgang Korall (Germany) and Guram Tisbakhashvili (Georgia) will be presented at the exhibition.

Georgia is the common topic for both of the artists.

The title of the exhibition was generated from photographers' different attitude to the work: Wolfgang Korall has singled out the topic myth and spirituality in Georgia, while Guram Tisbakhashvili picks out everyday reality.

The exhibits by Wolfgang Korall were made in 2008-2009 and it's a kind of continuation of his previous works Svaneti (1984-1988). The new series on Georgia appeared in 2008 within the Meeting with Pirosmani project. In the course of the project two photo tours to Georgia (Tusheti, Khevsureti, Khevi, Kakheti, Racha, Lechkhumi, Imereti, Meskheti, Javakheti, Trialeti, Kartli, Tbilisi) have been planned. The photos, unlike the Svaneti series (analog photo) are made with a digital camera and printed as Lambda print.

Photos by Guram Tsibakhashvili have been made in the last five years and they represent a kind of diary. These are documentary photos without a topic, featuring Georgia's life in a fragmentary way. These are personal impressions on random events. The photos are made with a digital camera and printed on water color paper through Inkjet printing.

The exhibition is scheduled to last until October 19, 2010.

The event is being organized by the Georgian-German Society.

Partners: Goethe Institute in Georgia and the Art Museum of Georgia.

Die Schauspielerin Margarita

The Actress Margarita

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

P. 145 in: REISSNER, Ilma (1989). Georgien. Geschichte. Kunst. Kultur. Verlag Herder, Freiburg im Bresgau. ISBN 3-451-21454-7 ---

Bana or Banak(Armenian: Բանակ, bɑnɑk; Georgian: ბანა, bɑnɑ) is a ruined early medieval Orthodox cathedral in the Erzurum Province, northeastern Turkey, in what had formerly been a historical merchland known to Armenians as Tayk and to Georgians as Tao.

In 302 BC, this territory become the part of the ancient Kingdom of Iberia under king Pharnavaz I. Shortly afterwards it formed part of the Kingdom of Armenia and in the 9th century AD returned to Georgia until the 17th century when the Ottomans annexed this territory. in 1825 Russian empire withdrew Ottomans and this territory become the part of Georgia within Russian empire. in 1921 Turkey invaded and occupied this territory and after that Tao-Klarjeti and Shavsheti are part of Turkey. This region was invaded and completely destroyed by the Arabs in the 7th century AD.

Bana is a large tetraconch design, surrounded by a near-rotunda polygonal ambulatory and marked with a cylindrical drum. After the construction of this monastery by the Georgian king Adarnase II of Iberia in the 7th century the church was reconstructed by another Georgian ruler Adarnase IV of Iberia at some point between 881 and 923, and emerged in written records in the 11th-century Georgian chronicles. Henceforth, it was used as a royal cathedral by the Bagrationi dynasty until the Ottoman conquest of the area in the 16th century. The former cathedral was converted into a fortress by the Ottoman army during the Crimean War in the 1870th monastery was almost completely ruined during the Russo-Turkish war of 1877-78.

The Bana cathedral is located on the north bank of the Penek (Irlağaç) river near the village of Penek, in the Şenkaya district of Erzurum Province. "Penek" is a Turkified typonym deriving from the original name of the area: "Banak". Banak means "army" in Armenian and possibly takes its origin from the site in the Berdats Por district of Tayk – then a hereditary Mamikonid fief – where the royal army (Արքունի բանակ, Ark'uni Banak) was headquartered during the rule of Arshakuni in the Kingdom of Armenia in the 1st century.[1] The name entered Georgian usage in the form of Bana because of Georgian phonology makes the "k" sound silent.

The dating of the Bana cathedral has been a subject of scholarly debate. The Bana cathedral is first mentioned in the 11th-century chronicle of Sumbat, who reports that the Georgian prince Adarnase IV (r. 881-923) ordered the building of the church of Bana "by the hand" of Kwirike, who subsequently became the first bishop of Bana. While the scholars such as Ekvtime Taqaishvili, Shalva Amiranashvili, and Stepan Mnatsakanyan tend to interpret the passage literally, Chubinashvili, Vakhtang Beridze and Tiran Marutyan identify Adarnase as a renovator, not a builder of the church. This view, now shared by most art scholars,[3] dates the Bana church – clearly modeled on the contemporaneous Zvartnots cathedral near Yerevan – to the mid-7th century. It was when the Chalcedonian-Armenian catholicos Nerses III, who presided over several important religious projects Zvartnots included, resided in exile in Tayk c. 653-58.

Devastated during the 8th century by the Byzantine–Arab war, the region of Tayk/Tao was gradually resettled by its new masters, the Georgian Bagratids, and under their patronage a monastic revival took place. With the settlements gradually expanding from the predominantly Georgian-populated north to the predominantly Armenian populated south and south-west, the Georgian princes reconstructed a number of monasteries abandoned by Armenians and built new foundations.

From the time of Adarnase IV's reconstruction, the cathedral of Bana was one of the principal royal churches of the Georgian Bagrationi dynasty. It was used for the coronation of Bagrat IV in 1027 and his marriage to Helena, a niece of the Byzantine emperor Romanos III Argyros in 1032. In the 15th century, King Vakhtang IV of Georgia (r. 1442-1446) and his consort khatun were buried at Bana. It was also the seat of the Georgian Orthodox bishop of Bana, whose diocese also included the neighboring areas of Taos-Kari, Panaskerti, and Oltisi.[4] With the Ottoman conquest of the area in the 16th century, Bana was abandoned by Christians. During the Crimean War (1853–1865), the Ottoman military converted the church into a fortress, adding the crude bulwark still visible on the south side. During the Russo-Turkish war of 1877-78, it was shelled by the Russian artillery, blasting the dome off and inflicting severe damage on the edifice. Later the Russians carted off much of masonry to build a late 19th-century church in Oltu.

The church was first described and sketched by the German botanist Karl Koch in 1843. He declared it the most remarkable church in the East after the Hagia Sophia. Koch was followed by the Russian ethnographer Yevgeny Veidenbaum in 1879 and the Georgian historian Dimitri Bakradze in 1881. The latter two found the church already without a dome, but reported about still surviving frescos and a Georgian inscription in the Asomtavruli script. From 1902 to 1907, the ruins of Bana were scrupulously studied by an expedition led by the Georgian archaeologist Ekvtime Taqaishvili. Inaccessible to Soviet nationals, the monument was a subject of study of some Western scholars during the Cold War era.

Bana is an interpretation of the tetraconch-in-ambulatory (aisled tetraconch) design that was probably influenced by the "Golden Octagon" at Antioch. Bana was a large tetraconch with three-tiered choirs and arcades in the lower parts of each apse. The tetraconch was contained in a continuous polygonal ambulatory, almost a rotunda, with a diameter of 37.45m and with façades adorned with colonnades. The interior was essentially a large pyramid formed by the exterior polygon, tetraconch and the cupola resting upon a cylindrical drum. The pylons, located between the arms of the tetraconch, accommodated galleries on three levels.

The lower portions of each of the four apses, rather than having an unbroken wall, opened through arches into the surrounding ambulatory. The building was more than 30 m tall. The architectural details are notable for high craftsmanship and artistry. Round pillars, located within the span of the apses and galleries, were provided with capitals adorned with volutes. The façade had a blind arcade along its perimeter, the arches adorned with floral ornaments. What remains of the church is part of the lower level floor half-submerged in its own ruins, including the east apse with one column of its colonnade with a carved capital. (Wikipedia) en.wikipedia.org/wiki/Bana_cathedral

Arsenalberg bei Nacht

Arsenal Hill at Night

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Straßenkehrer

Caretaker

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Junger Feuerholz-Verkäufer

Firewood Seller Boy

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Hase in den Fängen eines Adlers

Eagle Seizing a Hare

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Großer Marani im Wald

Big Marani in the Forest

Öl auf Blech/Oil on tintplate

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Reh am Bach

Roe Deer at a Stream

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Brücke mit Esel

Bridge with Donkey

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Hirsch

Stag

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Giraffe

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Auf dem Dreschplatz

Threshing Floor

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Der Russisch-Japanische Krieg

The Russo-Japanese War

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Kachetischer Zug

Kakhetian Train

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Tungusischer Fluss Jemut

The Tungus River Yemut

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Sitzender gelber Löwe

Sitting Yellow Lion

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Bär in mondheller Nacht

Bear on a Moonlit Night, 1914

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Geburtstagsfest am Fluss Zcheniszqali

Birthday Party by the Tskhenistsqali River

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Keiler

Boar

Öl auf Wachstuch/Oil on wax cloth

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Tatarischer Kamelführer

Tatar Camel Driver

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

27 September, 2010 - 13:09

Photo Exhibition Georgia - Myth and Reality to be Opened at Art Museum

Photo Exhibition Georgia - Myth and Reality is scheduled tto be opened on September 29 at 18:00 hrs at Shota Amiranashvili Art Museum of Georgia. Photo works by two photographers such as Wolfgang Korall (Germany) and Guram Tisbakhashvili (Georgia) will be presented at the exhibition.

Georgia is the common topic for both of the artists.

The title of the exhibition was generated from photographers' different attitude to the work: Wolfgang Korall has singled out the topic myth and spirituality in Georgia, while Guram Tisbakhashvili picks out everyday reality.

The exhibits by Wolfgang Korall were made in 2008-2009 and it's a kind of continuation of his previous works Svaneti (1984-1988). The new series on Georgia appeared in 2008 within the Meeting with Pirosmani project. In the course of the project two photo tours to Georgia (Tusheti, Khevsureti, Khevi, Kakheti, Racha, Lechkhumi, Imereti, Meskheti, Javakheti, Trialeti, Kartli, Tbilisi) have been planned. The photos, unlike the Svaneti series (analog photo) are made with a digital camera and printed as Lambda print.

Photos by Guram Tsibakhashvili have been made in the last five years and they represent a kind of diary. These are documentary photos without a topic, featuring Georgia's life in a fragmentary way. These are personal impressions on random events. The photos are made with a digital camera and printed on water color paper through Inkjet printing.

The exhibition is scheduled to last until October 19, 2010.

The event is being organized by the Georgian-German Society.

Partners: Goethe Institute in Georgia and the Art Museum of Georgia.

27 September, 2010 - 13:09

Photo Exhibition Georgia - Myth and Reality to be Opened at Art Museum

Photo Exhibition Georgia - Myth and Reality is scheduled tto be opened on September 29 at 18:00 hrs at Shota Amiranashvili Art Museum of Georgia. Photo works by two photographers such as Wolfgang Korall (Germany) and Guram Tisbakhashvili (Georgia) will be presented at the exhibition.

Georgia is the common topic for both of the artists.

The title of the exhibition was generated from photographers' different attitude to the work: Wolfgang Korall has singled out the topic myth and spirituality in Georgia, while Guram Tisbakhashvili picks out everyday reality.

The exhibits by Wolfgang Korall were made in 2008-2009 and it's a kind of continuation of his previous works Svaneti (1984-1988). The new series on Georgia appeared in 2008 within the Meeting with Pirosmani project. In the course of the project two photo tours to Georgia (Tusheti, Khevsureti, Khevi, Kakheti, Racha, Lechkhumi, Imereti, Meskheti, Javakheti, Trialeti, Kartli, Tbilisi) have been planned. The photos, unlike the Svaneti series (analog photo) are made with a digital camera and printed as Lambda print.

Photos by Guram Tsibakhashvili have been made in the last five years and they represent a kind of diary. These are documentary photos without a topic, featuring Georgia's life in a fragmentary way. These are personal impressions on random events. The photos are made with a digital camera and printed on water color paper through Inkjet printing.

The exhibition is scheduled to last until October 19, 2010.

The event is being organized by the Georgian-German Society.

Partners: Goethe Institute in Georgia and the Art Museum of Georgia.

Tatarischer Obsthändler

Tatar Fruiterer

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

Rehbock in Landschaft

Roebuck and Landscape

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/

27 September, 2010 - 13:09

Photo Exhibition Georgia - Myth and Reality to be Opened at Art Museum

Photo Exhibition Georgia - Myth and Reality is scheduled tto be opened on September 29 at 18:00 hrs at Shota Amiranashvili Art Museum of Georgia. Photo works by two photographers such as Wolfgang Korall (Germany) and Guram Tisbakhashvili (Georgia) will be presented at the exhibition.

Georgia is the common topic for both of the artists.

The title of the exhibition was generated from photographers' different attitude to the work: Wolfgang Korall has singled out the topic myth and spirituality in Georgia, while Guram Tisbakhashvili picks out everyday reality.

The exhibits by Wolfgang Korall were made in 2008-2009 and it's a kind of continuation of his previous works Svaneti (1984-1988). The new series on Georgia appeared in 2008 within the Meeting with Pirosmani project. In the course of the project two photo tours to Georgia (Tusheti, Khevsureti, Khevi, Kakheti, Racha, Lechkhumi, Imereti, Meskheti, Javakheti, Trialeti, Kartli, Tbilisi) have been planned. The photos, unlike the Svaneti series (analog photo) are made with a digital camera and printed as Lambda print.

Photos by Guram Tsibakhashvili have been made in the last five years and they represent a kind of diary. These are documentary photos without a topic, featuring Georgia's life in a fragmentary way. These are personal impressions on random events. The photos are made with a digital camera and printed on water color paper through Inkjet printing.

The exhibition is scheduled to last until October 19, 2010.

The event is being organized by the Georgian-German Society.

Partners: Goethe Institute in Georgia and the Art Museum of Georgia.

Rehbock in Landschaft

Roebuck and Landscape

Öl auf Karton/Oil on cardboard

Georgisches Nationalmuseum, Schalwa Amiranaschwili

Museum der bildenden Künste, Tiflis

Georgian National Museum, Shalva Amiranashvili

Museum of Fine Arts, Tbilisi

The ALBERTINA devotes a comprehensive solo exhibition to the Georgian painter Niko Pirosmani (1862-1918). The autodidact, whose luminous, vivid works often depict animals or scenes from the life of ancient Georgia and its people, is today a hero of the avant-garde to be discovered. For Niko Pirosmani art is a wide, open field, he himself a vagabond, who consciously chose to move around as a way of life. A wanderer between town and country, restaurants and animal stables, which is at the same time in the center of the community. His commissioned works are not presented in galleries and museums, but in inns, taverns and shops. Niko Pirosmani embodies the artist's vision as a clairvoyant outsider.

The exhibition will be on view from October 26, 2018 to January 27, 2019.

This exhibition is made possible by the Infinitart Foundation.

It is organized by ALBERTINA with the Infinitart Foundation in collaboration with the Georgian National Museum and the Fondation Vincent Van Gogh Arles.

Die ALBERTINA widmet dem georgischen Maler Niko Pirosmani (1862–1918) eine umfassende Personale. Der Autodidakt, dessen leuchtende, eindringliche Werke häufig Tiere oder Szenen aus dem Leben des alten Georgiens und seiner Menschen zeigen, ist heute ein Held der Avantgarde, den es zu entdecken gilt. Kunst ist für Niko Pirosmani ein weites, offenes Feld, er selbst ein Vagabund, der das Herumziehen bewusst als Lebensform gewählt hat. Ein Wanderer zwischen Stadt und Land, Gaststuben und Tierställen, der sich gleichzeitig im Zentrum der Gemeinschaft aufhält. Seine im Auftrag entstandenen Werke werden nicht in Galerien und Museen präsentiert, sondern in Gasthöfen, Tavernen und Läden. Niko Pirosmani verkörpert die Vision des Künstlers als hellsichtigem Außenseiter.

Die Ausstellung ist von 26. Oktober 2018 bis 27. Jänner 2019 zu sehen.

Diese Ausstellung wird durch die Infinitart Foundation ermöglicht.

Sie wird von der ALBERTINA mit der Infinitart Foundation in Zusammenarbeit mit dem Georgischen National Museum und der Fondation Vincent Van Gogh Arles organisiert.

www.albertina.at/ausstellungen/niko-pirosmani/