Lado Davidovich Gudiashvili is one of the largest Georgian artists of the 20th century.
The artist himself did not evaluate his creativity and his style in any way, preferring to give monosyllabic answers.
The work of Lado Gudiashvili is distinguished by a huge variety of techniques and genres, while his style is quite easily recognizable.
"Self-Portrait" 1950
Lado Gudiashvili was born in Tiflis on March 18, 1896 in the family of a railway employee. At the age of 14 he entered art school, after graduation he worked as an art teacher at school. In 1915, his first personal exhibition was held in Tiflis, which immediately made his name in the artistic circles of Georgia. Gudiashvili entered the circle of Georgian intellectuals and was close to the group of symbolist poets “Blue Horns”, organized by Paolo Yashvili. He took part in an archaeological expedition that studied monuments of Georgian architecture, and copied a lot of ancient frescoes. He worked simultaneously as an artist and graphic artist. At the exhibition of Georgian art held in 1919, more than fifty of his paintings and watercolors were exhibited.
Between 1915 and 1918 he became acquainted with the work of Niko Pirosmanishvili, which had a profound influence on his own artistic style.
Lado Gudiashvili left Tiflis for Paris in the fall of 1919. Almost immediately the artist became a regular at the famous "Beehive" and the "Rotunda" cafe. He was friends with A. Derain, F. Leger, F. Maserel, N. Goncharova and M. Larionov, and was also familiar with A. Modigliani and P. Picasso.
Spring. ( Green woman). 1920
Gudiashvili's Paris debut began with participation in the 13th exhibition of the "Autumn Salon", where he showed four paintings: "Idyll", "Revelry in the Edemi Garden", "Toast at Dawn", "Revelry with a Woman". After the salon, the works of twenty-four-year-old Gudiashvili received rave reviews from the press. After public recognition commercial success followed - Gudiashvili bought the painting “Revelry with a Woman” and three more drawings spanish artist Ignacio Zuloaga with the intention of later donating them to the collection of the Prado Museum.
Gudiashvili’s favorite characters in his paintings were kinto (street vendors, regulars at dukhans) and karachokheli (hard-working artisans who wore chokha - black clothes) and associated scenes of libations, feasts, festivities and horse riding. During his years in Paris, Gudiashvili invariably turned to memories of the patriarchal Georgian way of life, which was suddenly replaced in 1921 by the new Soviet regime.
Gudiashvili lived in Paris for six years. All these years he was accompanied by professional success: galleries organized personal exhibitions, he was willingly invited to take part in collective exhibitions, debates and poetry readings, he worked as a theater decorator.
However, many of Gudiashvili’s works of the 1920s are not without pessimism and melancholy, partly because the artist understood the doom of the ancient Georgian way of life during his youth. However, during the years of awareness new reality and revaluation of values, Gudiashvili remained faithful to the ideal of beauty, which directly connected his work with the tradition of French and Russian symbolism - the concept and cult of Eternal Femininity.
In 1925, when many artists tried to escape from Russia, Lado Gudiashvili, on the contrary, returned to Soviet Georgia. He continued to work successfully in his native Tiflis. In 1928, Gudiashvili became a participant in the 16th Venice Biennale contemporary art, his works were exhibited in Europe, America and the USSR.
Revelry with a Woman 1921Revelry with a woman 1923
1923
Young man with a doe 1924
Serenade
1920-1926
Some subjects are constantly present in the artist’s work. The most common for Gudiashvili is the image of a person (usually a woman) and an animal. In lyrical works the animal may be a horse, a doe, or a bird; in epic bears, monkeys or fairy-tale monsters. Animals are often included in portraits, as, for example, the artist placed a gazelle in the portrait of Pirosmani, and a doe in the portrait of Galina Ulanova.
Lado Gudiashvili was a wonderful draftsman and was good at conveying movement. This is especially noticeable in his graphic works And book illustrations, including the poem “The Knight in the Tiger Skin” (1934, 1939). A very typical change for an artist traditional form figures, which gives the works a certain touch of theatricality.
Gudiashvili's colors are bright and sometimes deliberately decorative. This contradicts the tradition of Georgian painting, dating back to the Middle Ages, when dark tones predominated in the paintings. Lado Gudiashvili was one of the first Georgian painters to break with this tradition. However, over time, the artist finds other ways to emphasize the decorative nature of his works, and in the 1960s the color of his paintings no longer stands out. 
Portrait of the artist's wife Nina 1940
Sweet Dreams
1953
Actresses 1960
1967
Fortune Teller 1969
Honorees 1971
Portrait of Nelly Onely.1974
The motives of the artist’s work are almost exclusively associated with Georgia. In particular, he made portraits Georgian writers and artists including Nikoloz Baratashvili and Niko Pirosmani. During the war, mythological motifs appear that are vaguely reminiscent of Francisco Goya’s “Caprichos.”
(Nikolai Pirosmanishvili) - the most famous Georgian self-taught artist of the late 19th - early 20th centuries, who worked in the style of primitivism. A man who was almost unnoticed during his life and who was noticed only three years before his death, who created almost 2,000 paintings, murals and signs, working for virtually nothing and died in obscurity, and who half a century later was exhibited from Paris to New York . His life is a sad and partly tragic story, which in Russia is known mainly from the song “Million Red roses“, although not everyone knows that the “Georgian artist” from the song is Pirosmani.
There are a lot of things associated with this name in Georgia, so it is useful to have an idea about the life of this person. This is why I am writing this short text.
Pirosmani watches Margarita's performance. ("Pirosmani", film 1969)
early years
Niko Pirosmani was born in the village of Mirzaani, near Sighnaghi. His father was gardener Aslan Pirosmanishvili, and his mother was Tekle Toklikashvili from the neighboring village of Zemo-Machkhaani. The surname Pirosmanishvili was famous and numerous in those days, and they say that even now there are many of them in Mirzaani. Subsequently, it will become something like a pseudonym for the artist. He will be called Pirosman, Pirosmani, Pirosmana, and sometimes by his first name - Nikala. He will go down in history as “Pirosmani”.
His birthday is not known. The year of birth is conventionally considered to be 1862. He had an older brother, George, and two sisters. His father died in 1870, his brother even earlier. Pirosmani lived in Mirzaani for the first 8 years of his life until his father’s death, after which he was sent to Tbilisi. Since then he appeared in Mirzaani only occasionally. Almost nothing has survived in the village from those times, except that the Mirzaan temple clearly stood in its place in those years.
From 1870 to 1890 there is a huge gap in Pirosmani’s biography. According to Paustovsky, during these years Pirosmani lived in Tbilisi and worked as a servant for a good family. This version explains a lot - for example, a general acquaintance with painting, and the snobbery that Pirosmani was distinguished by in middle age. Somewhere during these years he stopped wearing peasant clothes and switched to European ones.
We know that he lived in Tbilisi, occasionally visiting his village, but we don’t know any details. 20 years of obscurity. In 1890 he became a brakeman on the railroad. A receipt dated April 1, 1890 on receipt has been preserved job description. Pirosmani worked as a conductor for about four years, during which time he visited several cities in Georgia and Azerbaijan. He never made a good conductor, and on December 30, 1893, Pirosmani was fired with a severance pay of 45 rubles. It is believed that it was these years that gave him the idea of creating the painting “Train”, which is sometimes called “Kakheti Train”.
Konstantin Paustovsky gives another version of those events: Pirosmani, according to him, painted his first picture - a portrait of the boss railway and his wife. The portrait was somewhat strange, the boss got angry and kicked Pirosmani out of service. But this is apparently a myth.
There is one strange coincidence. While Pirosmani was serving on the railway, the Russian tramp Peshkov came to work there in 1891. From 1891 to 1892 he worked in Tbilisi in railway repair shops. Here Egnate Ninoshvili told him: “Write what you tell so well.” Peshkov began to write and the story “Makar Chudra” appeared, and Peshkov became Maxim Gorky. No director has ever thought of filming a scene where Gorky tightens the nuts on a steam locomotive in the presence of Pirosmani.
Somewhere in the same years - probably in the 1880s, Pirosmani saved up money and built a big house, which has survived to this day.
Pirosmani's house in Mirzaani
First paintings
After the railway, Pirosmani sold milk for several years. At first he didn’t have his own store, but just a table. It is not known exactly where he traded - either on Vereisky Spusk (where the Radisson Hotel is now) or on the Maidan. Or maybe he changed places. This moment is important for his biography - it was then that he began to paint. The first of these were, apparently, the drawings on the wall of his shop. The memories of his companion Dimitar Alugishvili and his wife remain. One of the first portraits was precisely that of Alugishvili (“I was black and looked scary. The children were scared, I had to burn it.”). Alugishvili’s wife later recalled that he often painted naked women. It is interesting that this topic was later covered by Pirosmani completely and in his later paintings There is absolutely no eroticism.
Piromani's milk trade did not work out. Apparently, already at this time his snobbery and asociality were evident. He did not respect his work, he did not get along well with people, avoided groups, and already in those years he behaved so strangely that people were even afraid of him. Once, when invited to dinner, he replied: “Why are you inviting me if you don’t harbor some kind of cunning in your heart?”
Gradually, Pirosmani abandoned work and switched to a vagabond lifestyle.
Heyday
Pirosmani's best years were the decade from approximately 1895 to 1905. He quit his job and switched to the lifestyle free artist. Artists often live off patrons of the arts - in Tbilisi these were the dukhan workers. They fed musicians, singers and artists. It was for them that Pirosmani began to paint pictures. He drew quickly and sold them cheap. Best works they went for 30 rubles, and those that were simpler - for a glass of vodka.
One of his main customers was Bego Yaxiev, who kept a dukhan somewhere around modern monument Baratashvili. Pirosmanishvili lived in this dukhan for several years and subsequently painted the painting “Bego’s Campaign.” There is a version that the man in the hat and with a fish in his hands is Pirosmani himself.
"The Bego Company", 1907.
Pirosmani spent a lot of time with Titichev in the Eldorado dukhan in the Ortachal Gardens. It wasn’t even a dukhan, but big park entertainment. Here Pirosmani created his best paintings- “Giraffe”, “Beauties of Ortachal”, “Janitor” and “Black Lion”. The latter was written for the son of a perfume maker. The main part of the paintings from that period later became part of Zdanevich’s collection, and is now in the Blue Gallery on Rustaveli.
At one time he lived in the "Racha" dukhan - but it is not known whether it was in the same "Racha" that is now located on Lermontov Street.
The earnings were enough for food and paint. Housing was provided by the dukhan worker. It was enough to occasionally travel to his native village of Mirzaani or to other cities. Many years later, several of his paintings were found in Gori and several more in Zestafoni. Has Pirosmani been to Sighnaghi? Controversial issue. No paintings of him seem to have been found there, although this is the largest locality near his village.
But there wasn’t enough for anything else.
He did not live anywhere for long, although he was offered good conditions. He moved from place to place, mainly in the area of the Tbilisi station - in the Didube, Chugureti and Kukia quarters. For some time he will live on Molokanskaya Street near the station (now Pirosmani Street).
Pirosmani wrote mainly with paints good quality- European or Russian. As a base he used walls, boards, tin sheets, and most often black tavern oilcloths. Therefore, the black background in Pirosmani’s paintings is not paint, but the own color of the oilcloth. For example, the famous “Black Lion” was painted with one white paint on black oilcloth. The strange choice of material led to the fact that Pirosmani’s paintings were well preserved - better than the paintings of those artists who painted on canvas.
The story of Margarita
Pirosmani was in fate crucial moment, and it happened in 1905. This moment is beautiful and sad story, known as "a million scarlet roses". That year she came to Tbilisi on tour French actress Margarita de Sèvres. She sang in entertainment venues in the Verei Gardens, although there are alternative versions: Ortachal Gardens and Mushtaid Park. Paustovsky describes in detail and artistically how Pirosmani fell in love with the actress - a widely known and, apparently, historical fact. The actress herself is also a historical character; posters of her performances and even a photograph of an unknown year have been preserved.
In addition, there was a portrait by Pirosmani and a photograph from 1969. And according to the classic version of events, Pirosmani incomprehensibly buys a million scarlet roses and gives them to Margarita one early morning. In 2010, journalists calculated that a million roses is the cost of 12 one-room apartments in Moscow. In Paustovsky’s detailed version, it is not roses that are mentioned, but all sorts of different flowers in general.
The broad gesture did little to help the artist: the actress left Tbilisi with someone else. It is believed that it was after the departure of the actress that Pirosmani painted her portrait. Some elements of this portrait suggest that it is partly a caricature and was painted in the form of revenge, although not all art historians agree with this.
This is how one of Pirosmani’s most famous works appeared. The story itself became known thanks to Paustovsky, and later the song “A Million Scarlet Roses” was written on this plot (to the tune of the Latvian song “Marinya gave life to the girl”), which Pugacheva sang for the first time in 1983, and the song immediately gained wild popularity. Few people knew about the origin of the plot at that time.
The story of Margarita last years became a kind of cultural brand and was included as a separate short story in the film “Love with an Accent” produced in 2011.
Degradation
There is an opinion that the story with Margarita ruined Pirosmani’s life. He switches to a completely vagabond lifestyle, spending the night in basements and cabins, drinking vodka or a piece of bread for a glass. Very often during that period (1905 - 1910) he lives with Bego Yaksiev, but sometimes he disappears somewhere unknown. He was already known in Tbilisi, all the dukhans were hung with his paintings, but the artist himself practically turned into a beggar.
Confession
In 1912, the French artist Michel Le-Dantu came to Georgia at the invitation of the Zdanevich brothers. On a summer evening, “when the sunset was fading and the silhouettes of blue and purple mountains in the yellow sky were losing their color,” the three of them found themselves on the station square and went into the Varyag tavern. Inside they found many paintings of Pirosmania, which surprised them: Zdanevich recalled that Le Dantu compared Pirosmani with Italian artist Giotto. At that time, there was a myth about Giotto, according to which he was a shepherd, tending sheep, and using coal in a cave he painted pictures, which were later noticed and appreciated. This comparison is rooted in cultural studies.
(The scene with the visit to “Varyag” was included in the film “Pirosmani”, where it is located almost at the very beginning)
Le Dantu acquired several paintings by the artist and took them to France, where their trace was lost. Kirill Zdanevich (1892 - 1969) became a researcher of Pirosmani’s work and the first collector. Subsequently, his collection was transferred to the Tbilisi Museum, moved to the Museum of Art, and it seems that it is now on display (temporarily) in the Blue Gallery on Rustaveli. Zdanevich ordered his portrait from Pirosmani, which has also been preserved:
As a result, Zdanevich will publish the book “Niko Pirosmanishvili”. On February 10, 1913, his brother Ilya published an article “The Nugget Artist” in the newspaper “Transcaucasian Speech”, which contained a list of Pirosmani’s works and indicated which one was in which dukhan. It was also stated there that Pirosmani lives at the address: Cellar Kardanakh, Molokanskaya Street, building 23. After this article, several more appeared.
The Zdanevichs organized the first small exhibition of Pirosmani’s works in their apartment in May 1916. Pirosmani was noticed by the “Society of Georgian Artists”, which was founded by Dmitry Shevardnadze - the same one who would be shot in 1937 for disagreeing with Beria regarding the Metekhi temple. Then, in May 1916, Pirosmani was invited to a meeting of the society, where he sat silently the entire time, looking at one point, and at the end he said:
So, brothers, you know what, we definitely have to build a big one wooden house in the heart of the city, so that everyone will be close, we will build a big house to gather in a place, we will buy a large samovar, we will drink tea and talk about art. But you don’t want that, you’re talking about something completely different.
This phrase characterizes not only Pirosmani himself, but also the tea drinking culture, which subsequently died out in Georgia.
After that meeting, Shevardnadze decided to take Pirosmani to a photographer, and so a photograph of the artist appeared, which for a long time was considered the only one.
The confession did not change anything in Pirosmani’s life. His escapism progressed - he did not want anyone's help. The "Society of Georgian Artists" managed to collect 200 rubles and transfer them to him through Lado Gudiashvili. Then they collected another 300, but they could no longer find Pirosmani.
In those later years - 1916, 1917 - Pirosmani lived mainly on Molokanskaya Street (now Pirosmani Street). His room has been preserved and is now part of the museum. This is the same room where Gudiashvili gave him 200 rubles.
Death
Pirosmani died in 1918, when he was just under 60 years old. The circumstances of this event are somewhat vague. There is a version that he was found dead of starvation in the basement of house No. 29 on Molokanskaya Street. However, Titian Tabidze managed to question the shoemaker Archil Maisuradze, who witnessed the last days of Pirosmani. According to him, Pirosmani last days I painted pictures in Abashidze's dukhan near the station. One day, going into his basement (house 29), Maisuradze saw that Pirosmani was lying on the floor and moaning. “I feel sick. I’ve been lying here for three days and can’t get up...” Maisuradze called a phaeton, and the artist was taken to the Aramyants hospital.
What happens next is unknown. Pirosmani disappeared, and his burial place is unknown. In the Pantheon on Mtatsminda you can see a board with the date of death, but it lies on its own, without a grave. There are no things left from Pirosmani - not even paints left. He is rumored to have died on the night of Palm Sunday 1918 - this is the only dating that exists.
Consequences
He died at the moment when his fame was just being born. A year later, in 1919, Galaktion Tabidze will mention him in one verse as someone famous.
Pirosmani died, and his paintings were still scattered throughout the dukhans of Tbilisi and the Zdanevich brothers continued to collect them, despite their difficult financial situation. If you believe Paustovsky, then back in 1922 he lived in a hotel, the walls of which were hung with Pirosmani’s “oilcloths”. Paustovsky wrote about his first meeting with these paintings:
I must have woken up very early. The harsh and dry sun lay slantingly on the opposite wall. I looked at this wall and jumped up. My heart began to beat hard and fast. From the wall he looked straight into my eyes - anxiously, questioningly and clearly suffering, but unable to talk about this suffering - some strange beast - tense as a string. It was a giraffe. A simple giraffe, which Pirosman apparently saw in the old Tiflis menagerie. I turned away. But I felt, I knew that the giraffe was looking at me intently and knew everything that was going on in my soul. The whole house was deathly quiet. Everyone was still sleeping. I took my eyes off the giraffe, and it immediately seemed to me that he had come out of a simple wooden frame, was standing next to me and was waiting for me to say something very simple and important that should disenchant him, revive him and free him from many years of attachment to this dry , dusty oilcloth.
(The paragraph is very strange - the famous “Giraffe” was created and kept in the Eldorado pleasure garden in Ortachala, where Paustovsky could hardly spend the night.)
In 1960, the Pirosmani Museum opened in the village of Mirzaani and at the same time its branch in Tbilisi - the Pirosmani Museum on Molokanskaya Street, in the house where he died.
The year of his glory was 1969. This year, the Pirosmani exhibition was opened at the Louvre - and it was personally opened by the French Minister of Culture. They write that the same Margarita came to that exhibition, and they even managed to photograph her for history.
In the same year, the film studio "Georgia-Film" produced the film "Niko Pirosmani". The film turned out well, although somewhat meditative. And the actor is not very similar to Pirosmani, especially in his youth.
After this there were many more exhibitions in all countries of the world, including Japan. Numerous posters of these exhibitions can now be seen in the Pirosmani Museum in Mirzaani.
IN late XIX century, Europe was experiencing a scientific and technological revolution and at the same time, rejection was developing technical progress. An ancient myth from ancient times has come to life that in the past people lived in natural simplicity and were happy. Europe became acquainted with the culture of Asia and Africa and suddenly decided that this primitive creativity was the ideal natural simplicity. In 1892 French artist Gauguin leaves Paris and escapes from civilization in Tahiti to live in nature, among simplicity and free love. In 1893, France drew attention to the artist Henri Rousseau, who also called for learning only from nature.
Everything is clear here - Paris was the center of civilization and the weariness of it began there. But in those same years - around 1894 - Pirosmani began to paint. It is difficult to imagine that he was tired of civilization, or that he closely followed cultural life Paris. Pirosmani, in principle, was not an enemy of civilization (and his customers, the perfumers, even more so). He could well have gone to the mountains and lived by agriculture - like the poet Vazha Pshavela - but he fundamentally did not want to be a peasant and with all his behavior made it clear that he was a city man. He did not learn to draw, but at the same time he wanted to draw - and he painted. His painting did not have an ideological message, like Gauguin and Rousseau. It turns out that he did not copy Gauguin, but simply painted - and it turned out like Gauguin’s. His genre was not borrowed from someone, but was created by itself, naturally. Thus, he became not a follower of primitivism, but its founder, and the birth of a new genre in such a remote corner as Georgia is strange and almost incredible.
Against his will, Pirosmani seemed to prove the correctness of the logic of the primitivists - they believed that true art is born outside of civilization, and so it was born in Transcaucasia. Maybe this is why Pirosmani became so popular among artists of the 20th century.
Absolutely charming in their honesty and truthfulness, the paintings of the Georgian artist Lado Tevdoradze captivate the viewer literally at first sight. Plots drawn in the style of primitivism are familiar not only to residents of Georgia, but can also evoke a smile of nostalgia in a person living far beyond its borders.
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My life routine is such that I always draw. When I draw, I'm like a drug addict. I'm in another world, in another reality. Because earth is not heaven, there is a lot of bad things. When we draw, we are in good world, it’s easier to live in this world. If I don't draw, life will be hard for me. Not only for me, all artists will say this," - speaks Lado Tevdoradze(Lado Tevdoradze).
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The main thing is that there is light in every picture,” he says. - To have the Sun. It is important that there are exhibitions for people to see. My wealth is that you like it. In my opinion this is very worth it."
https://static.kulturologia.ru/files/u18046/Lado-Tevdoradze-09.jpg" alt="Old lovers.
Wishing Tree" Ладо и его жена Манана стоят справа - художника можно узнать по картине в руках. А на картине "Деревенский клуб" и вовсе каждый герой - это кто-то, кого художник лично знает. Но эта картина не для продажи, она слишком дорога Ладо, и потому висит у него дома.!}
https://static.kulturologia.ru/files/u18046/Lado-Tevdoradze-13.jpg" alt="Village Club.
If God gave you intelligence, distinguished you, made you special, you must definitely work. It is a sin not to do the work that God has given," - говорит Ладо, и потому старается работать каждый день, не позволяя лени управлять собой. !}
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academic primitivism." Primitivism is like Pirosmani’s,- explains colleague in the art workshop Zviad Gogolauri, - and academic, because we all graduated from the academy."
The works of contemporary Georgian artists are unique and multifaceted. Their paintings fill life with colors, instill love for their homeland and give aesthetic pleasure.
The personality of the artist Tsereteli is multifaceted. Famous sculptor, teacher, professor, whose heart was forever captured by painting. IN fine arts he saw the true meaning of existence.
Zurab, like all modern artists of Georgia, conveyed in colors everything that surrounded him. Life ordinary people, female beauty, the fragrance of flowers, fields of sunflowers, palm trees on the seashore, cars - everything was reflected in creativity. The author's painting is original and goes beyond the Georgian school. The canvases convey a special attitude to life, unbridled temperament, the desire to conquer peaks and frequent changes of mood. Peaceful admiration of nature, detachment from human fuss, makes you think about something deep and intimate. The variety of colors fills the canvases with admiration for the unity of man and nature, and sincere love for his native Georgia. The artist’s paintings are distinguished by texture and a predominance of earthy tones.
Often the image is based on scenes of folk festivals or circus performances with clowns and acrobats. The modern Artist of Georgia fixed his gaze not on the heroes themselves, but on small parts, be it elements of a costume or household items. Creativity involves experimenting with genres. But oil portraits and poetic paintings with thoughtful plots that express an attitude towards life remain a priority.
Touching paintings by Georgian artist Nino Chakvetadze radiate the warm light of distant childhood. The main characters are helpless, good-natured children and old people. You want to warm them, protect them, surround them with affection and care. Many of the paintings personify the biography of the author. “Self-Portrait on a Tree” is the artist’s favorite work. Winter is ahead, the last leaves are falling from the tree, sadly saying goodbye to summer. The girl on the branch is Nino herself as a child. Chakvetadze’s works are easily recognizable by their inherent nostalgia for a carefree time, which you don’t want to part with.
In the painting “Inescapable Tenderness” Kind expressions on old faces are like a sign of passing time. With sad eyes, people who have known life watch the serenely dozing baby. Everything is just beginning for him. The artist fills the picture with peace and sad notes of warmth and care.
Swampy, purple, gray tones and lack sunlight – characteristic all Nino's paintings. Fog, rain, snow, lonely people or animals give the works a special romantic touch.
The artist’s works have an inexplicable healing psychotherapeutic effect. They heal well and relieve fatigue. Psychologists turn to her work when preparing materials for working with patients. Nino’s paintings are in demand not only in Georgia, but also abroad.
Levan's first teacher was his father - famous artist— Tamaz Mosiashvili. He instilled in his son the skills to work in different styles. Canvases are inherent bright colors, simple stories. The works are based on the folk life of Georgia. Nature home country gave good lesson artist for his painting education.
Levan's interests expanded after moving to France and began to correspond to European trends. The feeling of free life was transferred to his brushes. The artist became interested in the abstract movement. The work organically combines Transcaucasian folk and world artistic elements. The works have gained fame not only in their native Georgia, but are also stored in many countries around the world. Today Levan Mosiashvili is a member of the Union of Artists of Georgia and France and actively helps young talents.
A famous artist of Georgia, a truth-teller who worked in the genre of primitivism. His paintings are a reflection of national reality with the help of good, warm humor. The canvases depict the comfort of the Georgian home through the prism of light irony and primitive charm.
The paintings of Georgian artists are filled with love for life, in its true manifestation. Lado is no exception. He often recalled that during creative process it’s as if he is in a parallel dimension: “Because the earth is not paradise, there is a lot of bad things. When we draw, we are in a good world, it’s easier to live in this world.” He didn't like to write to order. But in the paintings he often depicted himself and his circle of acquaintances. In the painting “The Wishing Tree”, the presence of the author is easily determined by the picture in the hands of the hero. On the canvas “Village Club” all the people are familiar Georgians.
The main thing in an artist’s work is to work every day, not allowing the soul to be lazy. He was inspired by the illustrations of the Impressionists. The painter called his style “academic primitivism.”
The main subjects of the paintings are scenes of holidays or feasts in Georgia, representing a clear contrast to the half-starved life of Niko himself. Art came first for Pirosmani. There were also hungry days when he worked for a piece of bread. The material side didn't matter. This is how the artist’s still lifes appeared - “Feasts”, painted on signs.
Other motifs in the paintings are animalistic. Animals are always depicted with a look like a person’s, lonely like the author himself. He also painted portraits and “cards” on cardboard, often copying an image from a picture.
“Actress Margarita” is a painting that adorned the walls of the Louvre. The artist has a wonderful story connected with the French woman on the canvas. Once in Tiflis Pirosmani saw a woman incredible beauty singer and dancer Margarita de Sèvres. Shopkeeper Nikolai, wanting to surprise beautiful lady, sold his modest business and bought roses with the proceeds. He literally threw flowers at the feet of the French woman. How did it end beautiful story artist with a million red roses, one can only guess. Researchers of Niko’s work refute this case, claiming that Paustovsky came up with the story after Pirosmani’s death.
The work “The Childless Millionaire and the Poor Woman with Children” shows the real meaning of life. Dried dry trunks behind indicate the emptiness of existence. True wealth for the author lies in prolongation of the family line.
In the painting "Grape Harvest" Niko emphasizes the fertile soil of his native country by reducing the size of the vineyards depicted. The work is characterized by the play of light pouring through the vine.
Almost no works of the self-taught artist have survived. But his paintings and still lifes, known to us, are disarming with their piercingness. Pirosma, whose name is known throughout the world, is a mystery to the contemporaries of his century and unsolved mystery for us.
Georgian painting is a great artistic heritage for the entire world community. Canvases contemporary artists replete with a variety of images and directions. All works are united by a love for the peculiarities of their native country, its nature and respect for the common people.
