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A Sitting Yellow Lion Måleriet identifieringen:: 93575
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A Sitting Yellow Lion Date 1900s(1900s)
Dimensions 80 x 99 cm (31.5 x 39 in)
TTD
Date_1900s(1900s)
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Dimensions_80_x_99_cm_(31.5_x_39_in)
_TTD
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Still-Life Måleriet identifieringen:: 93576
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Still-Life Date 1900s
Medium oil on tin-plate
Dimensions 73 x 36 cm (28.7 x 14.2 in)
TTD Date_1900s
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Medium_oil_on_tin-plate
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Dimensions_73_x_36_cm_(28.7_x_14.2_in)
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TTD
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A Peasant with His Grandson Måleriet identifieringen:: 93577
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A Peasant with His Grandson Date 1900s(1900s)
Dimensions 56 x 75 cm (22 x 29.5 in
TTD
Date_1900s(1900s)
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Dimensions_56_x_75_cm_(22_x_29.5_in
_TTD
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The Russian-Japanese War Måleriet identifieringen:: 95806
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The Russian-Japanese War 157 x 107 cm (61.8 x 42.1 in)
1906
cjr 157_x_107_cm_(61.8_x_42.1_in)
1906
cjr
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The Kinto's Son or Little Kinto Måleriet identifieringen:: 95807
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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 from_1862(1862)_until_1918(1918)_
Medium_oil_on_oilcloth_
Dimensions_38_x_77_cm_(15_x_30.3_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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