100% hand painted, 100% cotton canvas, 100% money back if not satisfaction.
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.
100% hand painted, 100%
cotton canvas,
100% money back if not satisfaction.
Niko Pirosmanashvili The Kinto's Son or Little Kinto
new26/Niko Pirosmanashvili-648478.jpg from 1862(1862) until 1918(1918)
Medium oil on oilcloth
Dimensions 38 x 77 cm (15 x 30.3 in)
cjr
Niko Pirosmanashvili The White Restaurant
new26/Niko Pirosmanashvili-886732.jpg from 1895(1895) until 1903(1903)
Medium Oil painting on oilcloth
Dimensions 80 x 49 cm (31.5 x 19.3 in)
cjr
Niko Pirosmanashvili Festival on the Tzkhenis-tzkaly River
new26/Niko Pirosmanashvili-843858.jpg 1900s
Medium oil on oilcloth
Dimensions 197 x 112 cm (77.6 x 44.1 in)
cjr
Niko Pirosmanashvili Walking Gazelle
new26/Niko Pirosmanashvili-737767.jpg 62 X 55 cm (24.4 X 21.7 in)
c. 1909
Medium English: Oil painting on oilcloth
cjr
Niko Pirosmanashvili Six-Scene Panel
new26/Niko Pirosmanashvili-667773.jpg pre 1919
Medium oil on oilcloth
Dimensions 380 X 180 cm (149.6 X 70.9 in)
cjr
Niko Pirosmanashvili Nanny Goat
new26/Niko Pirosmanashvili-583889.jpg Nanny Goat
Date pre 1919
Medium English: Oil painting on cardboard
80 X 49 cm (31.5 X 19.3 in)
cjr
Niko Pirosmanashvili A Ram
new26/Niko Pirosmanashvili-343638.jpg 100 X 80 cm (39.4 X 31.5 in)
A Ram
Date pre 1919
Medium English: Oil painting on cardboard
cjr
Niko Pirosmanashvili Brooder with Chicks
new26/Niko Pirosmanashvili-869898.jpg 79 X 67 cm (31.1 X 26.4 in)
Brooder with Chicks
Date pre 1919
Medium English: Oil painting on cardboard
cjr
Niko Pirosmanashvili A Shepherd with His Flock
new26/Niko Pirosmanashvili-668644.jpg from 1862(1862) until 1918(1918)
Medium oil on oilcloth
Dimensions 110 X 138 cm (43.3 X 54.3 in)
cjr
Niko Pirosmanashvili A Doe against Landscape
new26/Niko Pirosmanashvili-389944.jpg 72 X 99 cm (28.3 X 39 in)
1913(1913)
Medium English: Oil painting on oilcloth
cjr
(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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