En mi reciente viaje a Georgia, he tenido la oportunidad de visitar el Museo de Arte de Tiflis (Tbilisi), cuya colección cuenta con una abundante muestra de obras del pintor primitivista Niko Pirosmani, probablemente la personalidad artística más importante del país. Uno de los tantos ejemplos de creadores que desarrollan su trabajo al margen de las corrientes y círculos artísticos, en la más absoluta pobreza, y cuyo reconocimiento llega tras el "redescubrimiento" de su obra, bastante tiempo después de su muerte en condiciones lamentables. Espero que disfruten tanto como yo con la sensibilidad, espontaneidad y frescura de una obra tan singular como su propio creador.
During my recent trip to Georgia, I had the opportunity to visit the Art Museum of Tbilisi, whose collection has an abundant set of works by the primitive painter Niko Pirosmani, probably the most important artistic personality in the country. One of the many examples of creators who develop their work outside the currents and artistic circles, in the most absolute poverty, and whose recognition comes after the "rediscovery" of his work, long after his death in deplorable conditions. I hope you enjoy as much as I do with the sensitivity, spontaneity and freshness of a work as unique as its own creator.
______________________________________________Niko Pirosmani
ნიკო ფიროსმანი
Nikoloz Aslanis Dze Pirosmanashvili / ნიკოლოზ ასლანის ძე ფიროსმანაშვილი
"ავტოპორტრეტი / Autorretrato / Self Portrait", óleo sobre hule / oil on oilcloth, 38 x 49 cm., 1900
Colección privada / Private Collection. WikiArt
Pirosmani nació en 1865 en la aldea georgiana de Mirzaani, en la provincia de Kajeti (Kakheti), en el seno de una familia de campesinos. Sus padres, Aslan Pirosmanashvili y Tekle Toklikishvili, eran agricultores que poseían un pequeño viñedo con algunas vacas y bueyes. Más tarde quedó huérfano y al cuidado de sus dos hermanas mayores, Mariam y Pepe. Se mudó con ellas a Tbilisi en 1870. En 1872, mientras vivía en un pequeño apartamento no lejos de la estación de trenes de Tbilisi, trabajó como sirviente de familias adineradas y aprendió a leer y escribir ruso y georgiano. En 1876 regresó a Mirzaani y trabajó como pastor.
Pirosmani gradualmente se enseñó a sí mismo a pintar. Una de sus especialidades era pintar directamente en hule negro. En 1882, con el también autodidacta George Zaziashvili, abrió un taller de pintura, donde hicieron letreros. En 1890 trabajó como conductor de un ferrocarril. En 1893 cofundó una granja lechera en Tbilisi, que abandonó en 1901. A lo largo de su vida Pirosmani, que era pobre, estuvo dispuesto a aceptar trabajos ordinarios, como pintar casas y blanquear edificios. También trabajó para tenderos en Tbilisi, creando letreros, pinturas y retratos, según sus órdenes. Aunque sus pinturas tenían cierta popularidad local (alrededor de 200 sobreviven) su relación con los artistas profesionales seguía siendo incómoda; ganarse la vida era siempre más importante para él que las abstracciones estéticas.
En abril de 1918 murió de desnutrición e insuficiencia hepática. Fue enterrado en el cementerio de Nino; la ubicación exacta no fue registrada y se desconoce.
"მალაკნების ქეიფი / Fiesta de los malayos / Feast of the Malakans"
Óleo sobre hule / oil on oilcloth, 112 x 179,5 cm., c.1905
Museo Sighnaghi (Kajeti / Kakheti, Georgia). WikiArt
"დათვი მთვარან ღამეს / Oso al claro de luna / Bear on a Moonlit Night"
Óleo sobre cartón / oil on cardboard, 100 x 80 cm., 1914
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
Las pinturas de Pirosmani fueron influenciadas por las condiciones sociales de su tiempo y lugar. Hay muchas obras sobre comerciantes, tenderos, obreros y grupos de nobles. Pirosmani era aficionado a la naturaleza y la vida rural. Rara vez pintaba paisajes de ciudad. Hizo muchas pinturas de animales; era el único animalista georgiano. También se sintió atraído por figuras históricas y personajes como Shota Rustaveli, la reina Tamar, Giorgi Saakadze, así como el pueblo georgiano común y su vida cotidiana.
Por lo general pintaba sobre hule. A diferencia de otros artistas, Niko no apuntó a una imitación pura de la naturaleza y no prestó atención a los detalles. Algunas de sus pinturas son monocromáticas. Sus cuadros demuestran la aguda consideración compositiva del autor. Las ubicaciones de las figuras son frontales, mientras que las caras no muestran un estado de ánimo específico.
"სააღდგომო ბატკანი / Cordero de navidad / Easter Lamb"
Óleo sobre hule / oil on oilcloth, 60 x 42 cm., 1914. Colección privada / Private Collection. WikiArt
"Campesina con un muchacho / Peasant Woman With Boy"
Óleo sobre hule / oil on oilcloth, 75 x 56 cm. WikiArt
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
En la década de 1910 se ganó el entusiasmo del poeta ruso Mikhail Le-Dantyu, el artista Kirill Zdanevich y su hermano Ilia Zdanevich. Ilia Zhdanevich escribió una carta sobre Pirosmani al periódico Zakavkazskaia Rech, que éste publicó el 13 de febrero de 1913. Se comprometió a publicitar la pintura de Pirosmani en Moscú. El periódico moscovita Moskovskaia Gazeta del 7 de enero escribió sobre la exposición "Mishen" donde exhibieron pintores autodidactas, entre ellos cuatro obras de Pirosmani: "Retrato de Zhdanevich", "Naturaleza muerta", "Mujer con jarra de cerveza", y "The Roe". Los críticos que escribieron más tarde en el mismo periódico quedaron impresionados con su talento.
En el mismo año, un artículo sobre Niko Pirosmani y su arte fue publicado en el periódico georgiano Temi.
La Sociedad de pintores georgianos, fundada en 1916 por Dito Shevardnadze, invitó a Pirosmani a sus reuniones y comenzó a encumbrarlo, pero sus relaciones con la sociedad siempre fueron incómodas. Presentó su pintura "Boda georgiana" a la Sociedad. Uno de los miembros hizo una caricatura, que lo ofendió mucho. Su continua pobreza, agravada por los problemas económicos causados por la Primera Guerra Mundial, llevaron a que su vida acabara con su obra poco reconocida.
"ქეიფი მეარღნე დათიკო ზემელთან / La fiesta con el organista de barril /
The feast with barrel organist Datiko Zemeli"
Óleo sobre hule / oil on oilcloth, 106 x 198 cm., 1906. WikiArt
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
"ჟირაფი / Jirafa / Giraffe", óleo sobre hule / oil on oilcloth, 139 x 111 cm., 1905
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
Se sabe que Pirosmani creaba muy rápido; solo dedicaba algunas horas al días a pintar. Trabajaba rápida y espontáneamente. Una cierta clave para desvelar la concepción artística de Pirosmani son las inscripciones y los nombres en las pinturas, cuya connotación significativa define el orden artístico de la obra. En cada caso específico, la estructura compositiva común, el tiempo, la interpretación del espacio, el ritmo, la manera de transmitir la forma y la expresión del color responden directamente al papel definitorio de la imagen artística.
Sala Pirosmani / Pirosmani Hall
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
"მეთევზე / Pescador con camisa roja / Fisherman in a Red Shirt"
Óleo sobre hule / oil on oilcloth, 113 x 93 cm., 1908.
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
Las pinturas de Niko Pirosmani estuvieron representadas en la primera gran exposición de pintores georgianos en 1918. A partir de 1920 se publicaron pocos artículos sobre él. El interés en Pirosmani aumentó en la década de 1950. Se creó una película biográfica y obras de teatro, y se compuso música. Sus pinturas fueron exhibidas en lugares, incluyendo la Unión Soviética y Europa Occidental. Se instaló un monumento en Tiflis y se abrió un museo en Mirzaani. Hoy 146 de sus obras se conservan en el Museo de Arte de Georgia y dieciséis pinturas se exhiben en el Museo Histórico-Etnográfico de Sighnaghi.
Desarrolló una reputación internacional después de la guerra, cuando fue admirado como un pintor "naif" en París y en otros lugares. El primer libro sobre Pirosmani fue publicado (en georgiano, ruso y francés) en 1926.
"დიდი მარანი ტყეში / Gran Marani en el bosque / Big Marani in the Forest"
Óleo sobre latón / oil on tin, 100 x 170 cm.
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
"ლომი და მზე / El león y el sol / Lion and the Sun"
Óleo sobre cartón / oil on cardboard, 80 x 100 cm. WikiArt
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
"El descubrimiento del arte de Pirosmani llegó en un momento muy oportuno con respecto a los problemas en el desarrollo universal del arte en aquellos años. Independiente de las tradiciones artísticas profesionales, sus obras respondieron a las tendencias y al gusto estético de la época.
A comienzos del siglo XX, el arte original de Henri Rousseau, un artista "primitivo" autodidacta, comenzaba a surgir en Francia. Los artistas de vanguardia, que estaban enemistados con el "arte académico" (M. de Vlaminck, H. Matisse, G. Braque, P. Picasso y otros), vieron el arte de Henri Rousseau como un puente entre el pasado distante y el presente. En la primera década del siglo XX, el arte ingenuo se convirtió en una tendencia en la cultura rusa y georgiana. Pirosmani fue en verdad "un descubrimiento misterioso" para los neoprimitivistas rusos (M. Larionov, N. Goncharova, A. Shevchenko, M. Le Dantiu, V. Chekrigin y otros). Para ellos, las pinturas del artista sirvieron de ejemplo de una expresión altamente artística del concepto de arte primitivo.
En la historia de Georgia, este período está marcado por un particular interés en el pasado del país; existía un gran deseo de crear un arte moderno basado en el intento de revivir las tradiciones culturales y artísticas nacionales, su aproximación a la cultura y el arte europeos. Para los escritores, poetas y artistas georgianos, las pinturas de Pirosmani eran una encarnación artística sofisticada de esta deseable síntesis".
[Extracto de un texto de Irina Arsenishvili, en" Niko Pirosmani, 'Naif' Sanatta Bir Efsane / Una leyenda en el arte 'naif'" , Pera Müzesi, 2007]. Google Books
"კახეთის მატარებელი / Tren de Kajeti / Train of Kakheti"
Óleo sobre hule / oil on oilcloth, 70 x 106 cm. WikiArt
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Pirosmani was born in 1865 in the Georgian village of Mirzaani, in Kakheti province, to a peasant family. 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 of malnutrition and liver failure. He was buried at the Nino cemetery; the exact location was not registered and is unknown.
"ნატურმორტი / Naturaleza muerta / Still Life", óleo sobre hule / oil on oilcloth, 102 x 133 cm.
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
"აქტრისა მარგარიტა / La actriz Margarita / Actress Margarita"
Óleo sobre hule / oil on oilcloth, 117 x 94 cm., 1909
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
Se sabe que Margarita era una bailarina francesa. Ella fue a Georgia en 1905 y conoció a Niko Pirosmani. Él estaba tan encantado con su belleza, que le regaló literalmente un mar de flores. Esta historia se hizo ampliamente conocida durante su vida y llegó a la escritora Shalva Dadiani. Simon Papiashvili escribió sobre él: "No tiene familia. Una mujer francesa lo amaba, supongo, todo el año ...". La hermana de Niko, Pepe, le escribió a Dadiani: "Nunca tuvo familia, pero estoy segura que tenía una amante".
¿Quién era esa mujer, a quien Niko amaba y a quien inmortalizó en su lienzo? No se sabe casi nada sobre esto.
Un admirador del talento del pintor, K. Zdanevich, describió esta historia en su libro con las siguientes palabras: "Niko no sabía qué era el amor antes de conocer a la cantante-bailarina en el café-shaitan. En Mushtaid Garden, en un escenario iluminado, acompañado con sonidos de mazurca, la hermosa y seductora señora Margarita apareció ante un público asombrado, estaba bailando y cantando canciones alegres y encantadoras de París ... Niko no podía dejar de mirarla, estaba cautivado".
En su cumpleaños, Pirosmani vendió todas sus posesiones y compró todas las flores en la ciudad. Enormes carritos cargados de flores fueron entregados en la casa de Margarita. Fueron descargados cerca de su ventana, y pronto toda la calle se llenó de flores. La leyenda dice que eran rosas, de hecho, no solo había rosas, sino también lilas, acacias, lirios y otras flores hermosas. Esa mañana clara Margarita escuchó el ruido y sintió un aroma increíble en el aire. Emocionada, se acercó a la ventana. Una increíble alfombra de flores se extendía frente a ella, y Pirosmani se acercaba a su casa a través de las flores. La actriz salió corriendo de la casa con su vestido más hermoso y le dio al artista su primer y último beso. Por supuesto, esta historia está cubierta de leyendas, y nadie puede decir exactamente cómo fue en realidad. Se dice que Niko nunca volvió a ver a la actriz después de ese día, ya que se fue de Georgia con un admirador rico.
It is known that Margarita was french dancer. She went to Georgia in 1905 and met Niko Pirosmani. He was so charmed with her beauty, that gave her literally the sea of flowers. This story became widely known during his life and it reached the writer Shalva Dadiani. Simon Papiashvili wrote about him: "He has no family. One french woman loved him, I guess, whole year..." Niko's sister -- Pepe wrote to Dadiani: "He never had family, but I know for sure he had a lover."
Who was that woman, whom Niko loved and whom he made immortal on his canvas? There is almost nothing known about this.
An admirer of the painter's talent, K. Zdanevich described this story in his book with following words: "Niko didn't know what is love before he met singer-dancer in cafe-shaitan. In Mushtaid Garden, on lightened stage, accompanied with sounds of mazurka beautiful and alluring madam Margarita appeared before of amazed public, she was dancing and singing charming and cheerful Paris songs... Niko couldn't stop gazing at her, he was captivated."
Niko's happiness didn't have any boundaries, all he spared during his whole life he spent for her, for the woman he loved. But Margarita got to know one day that he wasn't count and he wasn't rich and he was just common person who gave her all he had... and once Niko found out that Margarita left for Paris.
On his birthday Pirosmani sold all his possessions and bought all the flowers in the city. Huge carts laden with flowers have been delivered to the home of Margarita. They were unloaded near her window, and in some time the whole street was filled with flowers. The legend says that it was roses, in fact, there were not only roses but also lilac, acacia, lilies and other beautiful flowers. That clear morning Margarita heard the noise and felt an incredible aroma in the air. Excited she came up to the window. An amazing carpet of flowers stretched in front of her, and Pirosmani was approaching her house through the flowers. The actress ran out of the house in her most beautiful dress and gave the artist her first and last kiss. Of course, this story is covered with legends, and nobody can exactly tell how it was actually. It is said that Niko never seen the actress after that day, as she left Georgia with a rich admirer.
Sala Pirosmani / Pirosmani Hall
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
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.
"არწივმა კურდღელი დაიჭირა / El águila atrapó un conejo / The Eagle Took a Rabbit"
Óleo sobre cartón / oil on cardboard, 100 x 80,3 cm.
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
"თეთრი დათვი ბელებით / Osa blanca con sus oseznos (en un maizal) /
White Bear With Her Cubs (In Cornfield)"
Óleo sobre cartón / oil on cardboard, 100 x 140 cm., 1917. WikiArt
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
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.
"გოგოს საფრენი ბუშტი უჭირავს ხელში / Chica con un globo / Girl With Balloon"
Óleo sobre hule / oil on oilcloth, 65 x 41 cm. WikiArt
Óleo sobre hule / oil on oilcloth, 65 x 41 cm. WikiArt
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
It is known that Pirosmani created quickly; it only took him several hours or days to paint. He worked rapidly and spontaneously. A certain clue to unveiling Pirosmani’s artistic conception is the inscriptions and names on the paintings, the meaningful connotation of which defines the artistic order of the painting. In each specific case, the common compositional structure, time, space interpretation, rhythm, manner of conveying the form and colour expression directly respond to the defining role of the artistic image.
"რუსეთ–იაპონიის ომი / La guerra Ruso-Japonesa / The Russian-Japanese War"
Óleo sobre hule / oil on oilcloth, 103 x 131 cm. WikiArt
"Ciervo en un arroyo / Roe at a Stream"
Óleo sobre cartón / oil on cardboard, 58 x 70 cm.
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
Foto / Photo: Javier Fuentes, 7/2018
Niko Pirosmani’s paintings were represented at the first big exhibition of Georgian painters in 1918. From 1920, few articles were published about him. Interest in Pirosmani increased in the 1950s. A biographical film and plays were created, and music was composed. His paintings were exhibited in places, including the Soviet Union and Western Europe. A monument was installed in Tbilisi and a museum opened in Mirzaani. 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.
He developed an international reputation after the war, when he became admired as a 'naïve' painter in Paris and elsewhere. The first book on Pirosmani was published (in Georgian, Russian, and French) in 1926.
"ხილის გამყიდველი თათარი / Frutero tártaro / Tartar Fruit Seller"
Óleo sobre cartón / oil on cardboard, 80 x 106 cm. WikiArt
საქართველოს ხელოვნების მუზეუმი / Museo de Arte Shalva Amiranashvili (Tbilisi, Georgia)
"Granjero con un toro / Farmer With a Bull", 1916. WikiArt
Centro M. T. Abraham de Artes Visuales (París, Francia / France)
"The discovery of Pirosmani's art arrived at a very opportune moment with respect to problems in the universal development of art in those years. As independent from professional art traditions, his works responded to the trends and aesthetic taste of the epoch.
At the turn of the 20th century, the original art of Henri Rousseau - a self-trained "primitive" artist - was beginning to emerge in France. Avant garde artists, who were antagonistically disposed toward "Academic Art" (M. de Vlaminck, H. Matisse, G. Braque, P. Picasso and others), viewed Henri Rousseau's art as a bridge across the distant past and present. In the first decade of the 20th century, naïve art became a trend in Russian and Georgian culture. Pirosmani was indeed "a mircaculous discovery" for Russian neo-primitivists (M. Larionov, N. Goncharova, A. Shevchenko, M. Le Dantiu, V. Chekrigin and others). For them, the artist's paintings served an example of a highly artistic expression of the concept of primitive art.
In the history of Georgia, this period is marked by a particulary keen interest towards the past of the country; there was a great desire to create a modern art based on the attempt to revive national cultural and artistic traditions, their rapprochment with European culture and art. For Georgian writters, poets and artists Pirosmani's paintings were a sophisticated, artistic embodiment of this desirable synthesis."
[Excerpt from a text by Irina Arsenishvili, in "Niko Pirosmani, 'Naif' Sanatta Bir Efsane / A Legend in 'Naïve' Art", Pera Müzesi, 2007]. Google Books
"La fiesta de los cuatro ciudadanos / Feast of the Four Citizens"
Óleo sobre hule / oil on oilcloth, 107,5 x 202 cm. WikiArt
Óleo sobre hule / oil on oilcloth, 107,5 x 202 cm. WikiArt
Fuentes / Sources:
* Website
* Wikipedia
* El segundo georgiano más famoso / The Second Most Famous Georgian, Eclectic Light
(animales / animals - gente y lugares / people & places)
* Exposición / Exhibition, "Niko Pirosmani", Albertina (Viena / Vienna, Austria)
* Pirosmani (1969). Película dirigida y co-escrita por /
Film directed and cowritten by Giorgi Shengelaia. MoMA
* La leyenda de / The Legend of Niko Pirosmani, MyGeo
* Pirosmani, Una leyenda del arte naif / A legend in Naïve Art, Pera Museum
* Dcplace
Niko Pirosmani en "El Hurgador" / in this blog: [Aniversarios (CXXII)]
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Pirosmani por / by Lado (Vladimir Davidovich) Gudiashvili
ლადო გუდიაშვილი
"Retrato de / Portrait of Niko Pirosmani"
Óleo sobre lienzo / oil on canvas, 90,5 x 72 cm., 1928
"Nuestro Niko, (Retrato de Niko Pirosmani) / Our Niko, (Portrait of Niko Pirosmani)"
Óleo sobre lienzo / oil on canvas, 24 x 16 cm., 1956. Link
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Pirosmani por / by Picasso
La Primera edición de "Pirosmanichvili 1914" (78 copias) se imprimió en papel japonés antiguo, firmado con lápiz rojo sobre el colofón de Iliazd y con el grabado original firmado por Picasso, un estudio de la figura del artista georgiano Pirosmanachvili pintando en su caballete. El grabado a punta seca fue impreso por Atelier Lacourière Frélaut.
Ilya Zdanevitch (ილია ზდანევიჩი), también conocido como Iliazd, fue un artista, tipógrafo y editor georgiano. Es conocido como miembro fundador del llamado Futurismo ruso. Pasó de los libros futuristas hechos a mano de todo tipo de material a los livres d'artiste. Comenzó a publicarlos en la década de 1940. Lo hacía todo el mismo, pero la tipografía en sus livres d'artiste es mucho más estricta en contraste con su trabajo anterior.
Iliazd era conocido por crear múltiples capas de hermosos papeles, que el lector debe descubrir lentamente hasta llegar al texto, como un regalo muy esperado. Su viejo amigo Picasso ilustró nueve de sus libros.
Iliazd regresó a su tierra natal en 1912 y con su hermano, el artista Kirill Zdanevitch, conoció al pintor georgiano Niko Pirosmani. Se entusiasmaron mucho con él. Iliazd estaba alarmado por la difícil situación económica en la que se encontraba el pintor y escribió un manifiesto para promover su arte, que se publicó en el periódico local Zakavkazskaya Rech en 1913 bajo el título "Khudozhnik-samorodok" (Un artista por naturaleza). Fue su primera publicación. En junio de 1914, el periódico Vostok publicó su artículo "Niko Pirosmani", en el que mitificaba la biografía del artista ya más viejo, vinculándolo con la Edad de Plata y la vanguardia rusa.
"En el verano de 1971 Iliazd, decidido a reimprimir el artículo, convenció a su amigo Picasso para el frontispicio del pintor georgiano. La impresión se completó y firmó en diciembre de 1972, cuatro meses antes de la muerte de Picasso" (Johnson, p 165). Bookvica
"Retrato de / Portrait of Pirosmani", punta seca / drypoint, 1972
Frontispicio para / Frontispice for "Pirosmanichvili 1914", por / by Iliazd (Ilya Zdanevich)
París: Le Degré Quarante et Un, 1972. Link
The First edition of "Pirosmanichvili 1914" (78 copies) was printed on Japon ancien paper, signed in red pencil on the colophon by Iliazd and with the original etching signed by Picasso, a figure study of the Georgian artist Pirosmanachvili painting at his easel. The dry-point etching was printed by Atelier Lacourière Frélaut.
Ilya Zdanevitch (ილია ზდანევიჩი), also known as Iliazd, was a Georgian artist, typographer, and publisher. He is known as a founder member of what has come to be known as Russian Futurism. He went from futurist books hand-made out of all kinds of material to livres d'artiste. He started to publish them in 1940s. He set up everything by himself but typography in his livres d'artiste is much more strict in contrast to his previous work.
Iliazd was well known for creating multiple layers of beautiful paper, which the reader must slowly uncover until they reach the text, like some highly anticipated present. His old friend Picasso illustrated nine of his books.
Iliazd returned to his homeland in 1912 and with his brother, artist Kirill Zdanevitch, he met Georgian painter Niko Pirosmani. They became very enthusiastic about him. Iliazd was alarmed by the difficult economic straits that the painter was in and wrote a manifesto to promote his art; it was published in a local paper Zakavkazskaya Rech' in 1913 under the title "Khudozhnik-samorodok" (A natural-born artist). It was his first publication. In June 1914 the journal Vostok published his article "Niko Pirosmani," in which he mythologized the biography of the older artist, linking him with the Silver Age and the Russian avant-garde.
"In the summer of 1971, Iliazd decided to reprint the article he convinced his friend Picasso to create this frontispiece of the Georgian painter. The printing was completed and signed by December 1972, four months before Picasso's death" (Johnson, p. 165). Bookvica
Pablo Picasso en "El Hurgador" / in this blog: [Todos los enlaces / All links]
