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Reclining Woman Måleriet identifieringen:: 96274
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Reclining Woman 114 X 95 cm (44.9 X 37.4 in)
Oil painting on oilcloth
pre 1919
cjr 114_X_95_cm_(44.9_X_37.4_in)
Oil_painting_on_oilcloth
pre_1919
cjr
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Six-Scene Panel Måleriet identifieringen:: 96275
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Six-Scene Panel pre 1919
Medium oil on oilcloth
Dimensions 380 X 180 cm (149.6 X 70.9 in)
cjr pre_1919_
Medium_oil_on_oilcloth_
Dimensions_380_X_180_cm_(149.6_X_70.9_in)_
cjr
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A Robber with a Stolen Horse Måleriet identifieringen:: 96278
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A Robber with a Stolen Horse oil on oilcloth
Dimensions 90 X 112 cm
cyf oil_on_oilcloth_
Dimensions_90_X_112_cm_
cyf
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Village Måleriet identifieringen:: 96476
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Village Village
Date 1916(1916)
Medium English: Oil painting on cardboard
cjr Village_
Date_1916(1916)_
Medium_English:_Oil_painting_on_cardboard
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Nanny Goat Måleriet identifieringen:: 96477
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Nanny Goat Nanny Goat
Date pre 1919
Medium English: Oil painting on cardboard
80 X 49 cm (31.5 X 19.3 in)
cjr Nanny_Goat_
Date_pre_1919_
Medium_English:_Oil_painting_on_cardboard
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80_X_49_cm_(31.5_X_19.3_in)
cjr
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| Föregående Konstnär Nästa Konstnär
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Niko Pirosmanashvili
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(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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