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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Niko Pirosmanashvili Easter Lambkin A paschal lamb oil painting


Easter Lambkin A paschal lamb
Pintura Identificación::  93291
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Easter Lambkin A paschal lamb
Date 1914-1915 Medium oil on metal Dimensions 42 x 60 cm (16.5 x 23.6 in) TTD
Date_1914-1915 _ Medium_oil_on_metal _ Dimensions_42_x_60_cm_(16.5_x_23.6_in) _ TTD
   
   
     

Niko Pirosmanashvili A Family Celebration oil painting


A Family Celebration
Pintura Identificación::  93570
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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
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 oil painting


Childless Millionaire and a Poor Woman Blessed with Children
Pintura Identificación::  93572
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Childless Millionaire and a Poor Woman Blessed with Children
Date 1900s TTD
Date_1900s _TTD
   
   
     

Niko Pirosmanashvili A Woman Carrying Easter Eggs oil painting


A Woman Carrying Easter Eggs
Pintura Identificación::  93573
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A Woman Carrying Easter Eggs
Date 1900s Dimensions 54 x 54 cm (21.3 x 21.3 in) TTD
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 oil painting


A Lamb and a Laden Easter Table with Angels Flying in the Background
Pintura Identificación::  93574
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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
Date_1900s _ Medium_oil_on_oilcloth _ Dimensions_100_x_80_cm_(39.4_x_31.5_in _ TTD
   
   
     

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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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