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Niko Pirosmanashvili A Family of Deer oil painting


A Family of Deer
Painting ID::  77190
Niko Pirosmanashvili
A Family of Deer
Medium Oil on cardboard Dimensions 145 ?? 95 cm (57.1 ?? 37.4 in) cyf

   
   
     

Niko Pirosmanashvili A girl and a goose with goslings oil painting


A girl and a goose with goslings
Painting ID::  79733
Niko Pirosmanashvili
A girl and a goose with goslings
from 1862(1862) until 1918(1918) Oil on cardboard cjr

   
   
     

Niko Pirosmanashvili Molokani Carousing oil painting


Molokani Carousing
Painting ID::  80475
Niko Pirosmanashvili
Molokani Carousing
Date 1905(1905) Medium Oil on oilcloth Dimensions 112 x 179.5 cm (44.1 x 70.7 in) cjr

   
   
     

Niko Pirosmanashvili Threshing floor oil painting


Threshing floor
Painting ID::  82651
Niko Pirosmanashvili
Threshing floor
1916(1916) Medium Oil on cardboard Dimensions 72 x 100 cm (28.3 x 39.4 in) cyf

   
   
     

Niko Pirosmanashvili Sister of mercy oil painting


Sister of mercy
Painting ID::  82705
Niko Pirosmanashvili
Sister of mercy
1862(1862) until 1918(1918) Medium Oil on cardboard cyf

   
   
     

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     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.

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