Niko Pirosmani 1

In the 19^th century, national easel painting began to take shape in Georgia. In the first stage, a portrait genre emerged, the so-called Tbilisi Portrait. One of the typical and important examples of this genre, The family of Nicholas Bagration of Mukhrani, was created in 1862 by an unknown Georgian artist who also painted the church in the village of Mukhrani.

The portrait of the lords of Mukhrani echoes medieval portraits of the founders and, at the same time, clearly reflects the new, landmark period in Georgian painting. The monumental-decorative artistic system is combined with the features of the easel portrait genre, creating a completely new artistic-stylistic language. This direction is further ingeniously realized in the multi-genre paintings of Niko Pirosmani (1862-1918).

The most famous Georgian artist, Niko Pirosmani (Pirosmanashvili) is a stand-alone figure and a symbol of the national collective-cultural identity. A self-taught artist, his work marks the beginning of Georgian modernism. He turned everyday life into a mystery, with people and animals becoming accomplices in the narrative. His significance for Georgian art is immense and enduring.

Multi-scene compositions frequently appear in Niko Pirosmani’s work, particularly those centered around the theme of wine. These works are remarkable for their narrative depth. In this panoramic, multi-figure composition, executed on black oilcloth, several scenes unfold simultaneously. Pirosmani uses the mountainous landscape to divide the composition into three distinct activities: grape pressing, feasting, and fruit picking. Through this arrangement, he conveys the unity of labor and celebration. At the heart of the composition is the feast. The “supra”- the traditional Georgian feast – is a recurring motif in Pirosmani’s oeuvre, reflecting the social and everyday life of Georgia. This centuries-old tradition remains an integral part of Georgian culture to this day. Pirosmani captures the essence of the “supra” with remarkable precision. Unlike his other depictions of feasts – where Tbilisi merchants, artisans, or princes dine without musicians or servants, set against a neutral sky – this harvest feast shows each figure actively engaged in their role, whether pressing grapes, drinking wine, making a toast, playing music, or picking fruit. The result is a harmonious sense of action among the figures.

Information panels of Georgian Museum of Fine Arts in Tbilisi.