|
|
|
Niko Pirosmanashvili A Black Wild Boar Date 1906(1906)
Medium oil on oilcloth
Dimensions 74 X 58 cm (29.1 X 22.8 in)
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili A Peasant Woman with Children Going to Fetch Water Date 1900s
Medium oil on oilcloth
Dimensions 92 X 111 cm (36.2 X 43.7 in)
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili Feast with Organ-Grinder Datiko Zemel Medium English: Oil painting on oilcloth
עברית: ציור שמן על שעוונית
Dimensions 198 X 106 cm (78 X 41.7 in)
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili Little Girl with a Patterned Balloon Date c. 1910-1912
Medium English: Oil painting on oilcloth
עברית: ציור שמן על שעוונית
Dimensions 64 x 37 cm (25.2 x 14.6 in)
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili A Tatar Fruiterer Date from 1910(1910) until 1912(1912)
Medium oil on cardboard
Dimensions 75 x 106 cm (29.5 x 41.7 in)
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili Easter Lambkin A paschal lamb Date 1914-1915
Medium oil on metal
Dimensions 42 x 60 cm (16.5 x 23.6 in)
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili A Family Celebration Date 1900s(1900s)
Medium English: Oil painting on oilcloth
עברית: ציור שמן על שעוונית
Dimensions 180 x 115 cm (70.9 x 45.3 in
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili Childless Millionaire and a Poor Woman Blessed with Children Date 1900s
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili A Woman Carrying Easter Eggs Date 1900s
Dimensions 54 x 54 cm (21.3 x 21.3 in)
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili A Lamb and a Laden Easter Table with Angels Flying in the Background Date 1900s
Medium oil on oilcloth
Dimensions 100 x 80 cm (39.4 x 31.5 in
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili A Sitting Yellow Lion Date 1900s(1900s)
Dimensions 80 x 99 cm (31.5 x 39 in)
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili Still-Life Date 1900s
Medium oil on tin-plate
Dimensions 73 x 36 cm (28.7 x 14.2 in)
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili A Peasant with His Grandson Date 1900s(1900s)
Dimensions 56 x 75 cm (22 x 29.5 in
TTD
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili The Russian-Japanese War 157 x 107 cm (61.8 x 42.1 in)
1906
cjr
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili The Kinto's Son or Little Kinto from 1862(1862) until 1918(1918)
Medium oil on oilcloth
Dimensions 38 x 77 cm (15 x 30.3 in)
cjr
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili The Ferry at Didubeh pre 1919
Oil painting on oilcloth
198 x 105 cm (78 x 41.3 in)
cjr
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili The White Restaurant from 1895(1895) until 1903(1903)
Medium Oil painting on oilcloth
Dimensions 80 x 49 cm (31.5 x 19.3 in)
cjr
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili Boy Delivering Lunch 48 x 82 cm (18.9 x 32.3 in)
Oil painting on oilcloth
1908
cjr
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili Festival on the Tzkhenis-tzkaly River 1900s
Medium oil on oilcloth
Dimensions 197 x 112 cm (77.6 x 44.1 in)
cjr
|
|
|
|
|
|
|
|
|
|
Niko Pirosmanashvili Porter with a Wineskin pre 1919
Oil painting on oilcloth
34 x 51 cm (13.4 x 20.1 in)
cjr
|
|
|
|
|
|
|
|
| |
|
|
Niko Pirosmanashvili
|
(born Niko Pirosmanashvili; May 5, 1862-1918) was a Georgian primitivist painter.
Pirosmani was born in the Georgian village of Mirzaani to a pleasant family in the Kakheti province. His family owned a small vineyard. He was later orphaned and put in the care of his two elder sisters. He moved with them to Tbilisi in 1870. In 1872 he worked as a servant for 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 he opened a workshop in Tbilisi which was unsuccessful. In 1890 he worked as a railroad conductor, and in 1895 worked creating signboards. In 1893 he co-founded a dairy farm in Tbilisi which he left in 1901. Throughout his life Pirosmani, who was always poor, was willing to take up ordinary jobs including housepainting and whitewashing buildings. 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 abstract aesthetics.
|