ავანგარდი / Avant-garde by Georgian National Museum

115

Tbilisi â&#x20AC;¢ T b i l i s i 2015

Salva amiranaSvilis saxelobis xelovnebis muzeumi

ilia zdaneviCi dRiurebi

ILIA ZDANEVICH Diaries

`me bednieri var, rom iliazdis arqivi daculi iqneba saqarTveloSi, sadac man axalgazrdobis wlebis didi nawili gaatara, 1911-dan 1920 wlamde. aq Camoyalibda igi, rogorc xelovani, futuristi da arqeologi. me xazs vusvam am TariRs-1920 wels, radgan am wels iZulebuli gaxda, daetovebina saqarTvelo. miuxedavad imisa, rom igi didxans mowyvetili iyo samSoblos, yovelTvis erTguli rCeboda Tavisi qveynisa~.

elen duari-zdaneviCi

ilia zdaneviCi avangarduli kulturis gamorCeuli figuraa. mkafio individualizmi, pirovnuli Tu SemoqmedebiTi Tavisufleba Tanabrad aisaxa mis Semoqmedebasa da yofiT cxovrebaSi. zdaneviCis personas rogorc ki exebi, zRvari realursa da irealurs, cxovrebasa da xelovnebas, TamaSsa da gaazrebul qmedebas Soris TiTqosda iSleba. eqsperimentulobis, epataJisa da sayovelTao ganaxlebis JiniT Sepyrobili ilia zdaneviCi literaturisa da xelovnebis sferoebSi axal-axal sivrceebs ipyrobda. es adamiani, gamorCeuli renesansuli universalizmiT, erTdroulad iyo TavzexelaRebuli futuristi, lirikuli leqsebis avtori, zaumuri poeziis apologeti da Teoretikosi, klasikuri xelovnebis `mrRveveli~, Sua saukuneebis xelovnebis mkvlevari, romanisti, filosofosi, `axali tipis wignis arqiteqtori~. man ganuzomlad didi roli Seasrula firosmanis aRmoCenisa da popularizaciis saqmeSi. ilia zdaneviCis dRiurebi, romelSic aRwerilia firosmanTan urTierTobis garkveuli periodi, fasdaudebeli dokumentia mxatvris Semoqmedebis kvlevis, cxovrebis bolo wlebis aRwerisa da misi fsiqosocialuri portretis Seqmnis TvalsazrisiT1. gamofena AVANT-GARDE/avangardi, romelic saqarTvelos erovnuli muzeumis Salva amiranaSvilis saxelobis xelovnebis muzeumis fondebSi dacul avangarduli xelovnebis nimuSebs warmogidgenT, ilia zdaneviCis dabadebis 120 wlis Tavs eZRvneba2. `1989 wlis Semodgomaze saqarTvelos xelovnebis muzeumSi moewyo gamofena `Zmebi zdaneviCebi”. mis organizebas uZRoda parizSi Cemi gamgzavreba, raTa SemerCia masala ilia zdaneviCis fondidan. mas saTuTad inaxavda iliazdis qvrivi, misi ukanaskneli muza, elen duari. iliazdis atelieSi (mazarinis quCa # 35) wilad mxvda bedniereba, `aRmomeCina” kirile zdaneviCis mier saxeldebuli `sanukvari ujredebiani Savi rveuli“_ 1913 wels firosmanTan iliazdis Sexvedris amsaxveli dRiuri. is mravali wlis ganmavlobaSi ukvalod dakargulad iTvleboda. ucnaur damTxvevad miviCnie, rom es dRiuri gadavfurcle swored ianvarSi, im TveSi, roca 76 wlis win, xangrZlivi Ziebis Semdeg, ilia zdaneviCma ipova firosmani da Seudga Tavis dRiurSi Canawerebis Setanas. elen duarim gaiziara Cemi profesiuli sixaruli, Tan dampirda, rom am dRiursa da meuRlis sxva saarqivo masalas saCuqrad gadascemda saqarTvelos xelovnebis muzeums. Tavisi sityvaPam SesaniS1 dRiurebi gamosacemad moamzada nana gogeliam. 2 kirile zdaneviCis qaliSvilma valentinam 1981 da 1988 wlebSi Salva amiranaSvilis saxelobis xelovnebis muzeums gadasca kirile da ilia zdaneviCebis piradi arqivi, romelic moicavs Zmebi zdaneviCebis cxovrebisa da Semoqmedebis amsaxvel dokumentacias. Zalze faseulia ilia zdaneviCis piradi arqivi (misi erTi nawili parizis pompidus centris fondebSia), romelic 1989 wels muzeums saCuqrad gadmosca ilia zdaneviCis meuRle, elen duarma.

navma qalbatonma aRasrula 1989 wels. naTeli iyos misi xsovna _ igi gardaicvala 1992 wlis dekembers. dRiuri ki dRes inaxeba saqarTvelos xelovnebis muzeumis sainformacio koleqciebis xelnawerTa memuarul fondSi.A am dRiuris arsebobis Sesaxeb vicodiT firosmanisadmi miZRvnili kirile zdaneviCis wignebidan: `bolos da bolos, axali rveulic gaCnda da iliam aRtacebiT dawera: `niko firosmanaSvili. mxatvris suraTebi.Mmisi biografia”. Zmis dRiuris zogierTi Canaweri kirilem gamoiyena 1926 da 1963-65 wlebis Tavis statiebsa da wignebSi. igi sakmaod Tavisuflad da TviTneburad axdenda dRiuris Canawerebis beletrizebasa da gadakeTeba-montaJs. mravali wlis ganmavlobaSi dRiuri TbilisSi kirilesTan inaxeboda da mxolod parizSi iliasTan Sexvedrisas, 1966-67 wlebSi, ZmisDdaJinebuli moTxovniT, daubruna mas igi. dRiuri unikaluri dokumentia. u U nikaluria 1912 wlis zafxulSi dawyebuli mixeil le-dantius `kavkasiuri albomic” da firosmanis suraTebis arasruli CamonaTvali im duqanTa misamarTebis miTiTebiT, sadac ekida isini3. cnobilia, rom firosmanze dRiur Canawerebs 1910-iani wlebis miwuruls akeTebda zdaneviCebis megobari, tfilisuri avangardis cnobili warmomadgeneli, poeti kolau (nikoloz-nikolai) Cerniavski (1893, akermani-1943, Tbilisi). man, jer kidev ymawvilma, Tavisi leqsebiT miipyro a. blokis yuradReba, mecadineobda n. gumiliovis literaturul wreSi (iyo n. gumiliovis literaturuli wris wevri), gatacebuli iyo m. kuzminis poeziiT. cnobili qarTveli poeti t. tabiZeE (1895-1937) ki mas `slav omar xaiams” uwodebda. k. Cerniavskis meore gataceba, poeziis garda, firosmanis ferwera iyo, romelsac is utolebda msoflio xelovnebis udides nimuSebs.K k. Cerniavskis xvda wilad firosmanis bevri suraTis pirvelaRmomCenis pativi. firosmanis `arsenalis mTa RamiT” (inaxeba parizis lui aragonis muzeumSi)4 odesRac k. Cerniavskis ekuTvnoda. kK . zdaneviCi k. Cerniavskis uwodebda `firosmanis xelovnebis erTgul rainds”. igi xom dRedaRam eZebda tfilisSi firosmanis suraTebs. k. zdaneviCma firosmanis Sesaxeb Tavisi wignebisTvis k. Cerniavskis dRiurSi moxmobili mravali faqtiT isargebla, amasTan, moaxdina megobris dRiuris zogierTi fragmentis citirebac. pP oetis ZmisSvilis, s. i. Cerniavskaias mier CemTvis mowodebuli informaciiT, mamamisma (kolaus Zmam, igorma) kolau Cerniavskis dRiuri gadasca vorkutis gadasaxlebidan dabrunebul kirile zdaneviCs, romelic apirebda firosmanze wignis daweras. mas Semdeg dRiuris adgilsamyofeli ucnobia.Faseve savalaloa bedi firosmanis Sesaxeb kidev erTi dRiurisa, romelsac 1930-ian wlebSi awarmoebda poeti giorgi leoniZe: portfeli, romelSic ido es dRiuri, ucnobma pirebma moipares. Zmebi zdaneviCebi TavianT pirad dRiurebs jer kidev gimnaziaSi swavlis dros awarmoebdnen. Mes Cveva maT gamoumuSava dedam, valentina kiriles asulma gamyreliZem, friad kulturulma adamianma, romelic dajildoebuli iyo rogorc musikaluri, ise literaturuli niWiT. firosmanTan Sexvedrebis Sesaxeb Tavis dRiurSi Canawerebis Setana iliam daiwyo 19 wlisam, studentobisas. dRiuri Cveulebrivi ujredebiani saerTo rveulia Savi feris muSambis ydiT. is 21 gverdiania, magram mas aSkarad aklia sxva gverdebi. yvela Canaweri ilia zdaneviCis mieraa gakeTebuli Savi da lurji melniT, iSviaTad, fanqriT~.5

3 inaxeba v. tatlinis fondSi, a. a. baxruSinis saxelobis moskovis Teatralur muzeumSi. fondi # 26442-267. 4 2015 wels mecenatma biZina ivaniSvilma saCuqrad gadasca Salva amairanaSvilis saxelobis xelovnebis muzeums 5 Дзуцова И. Пиросмани. Пиросмани… Тб., 2013. с. 7.

* elen duari-zdaneviCi da ilia zdaneviCi * Helen Douar-Zdanevich and Ilia Zdanevich

* pikaso da ilia zdaneviCi * Picasso and Ilia Zdanevich

“I am happy, that Iliazdi’s archive will be kept in Georgia, where he (Iliazd) spent the most part of his youth from 1911 to 1920. Here he was developed into the artist, the futurist and the archeologist. I underline this date – 1921, as that year he was compelled to leave Georgia. In spite of the fact that he was long torn off from the native land, he was always true to his own country.” Elen Djuar-Zdanevich

Ilia Zdanevich is an outstanding figure of avant-garde culture. Bright individualism, personal and creative freedom - were equally reflected in his creativity and life. As soon as you face with the person of Zdanevich, the distinction between real and irreal, life and art, game and the realized action disappears. Afflicted with the passion to all new, scandalous and experimental, Ilia Zdanevich subjugated new tops in literature and art sphere. This person, known for the Renaissance universalism, was at the same time the inveterate futurist, the author of lyrical verses, the apologist and the theorist of abstruse poetry, “destroyer” of classical art, the researcher of the medieval art, the novelist, the philosopher, “the architect of the book of new type”. He played a great role in discovering and popularization of Pirosmani. Ilia Zdanevich’s diary, where the certain period of their mutual relations with Pirosmani is described, is the invaluable document from the point of view of research, description of the last years of the life and creation of psychosocial portrait of the artist.1 The exhibition Avant-Garde, which is presented by samples of the avant-garde art, stored in the funds of Shalva Amiranashvili Fine Art museum of the Georgian National Museum, is devoted to the 120th anniversary from the date of birth of Ilia Zdanevich.2 “In autumn of 1989 the exhibition “Brothers Zdanevich” was carried out in the Museum of Art of Georgia. My trip to Paris was preceded the opening of the exhibition in order to find some material from Zdanevich’s fund. Iliazdi’s widow, Ellen Djuar, his last muse, carefully stored it. In Iliazdi’s studio (Mazarini Street #35) I had the honor “to discover” a secret checkered black writing-book”, named so by Kirill Zdanevich. It was the diary, describing meeting of Iliazdy with Pirosmani in 1913. It was considered completely lost during many years. I thought-out it paradoxical that looked through this diary in January, just that month, when, 76 years ago, after long searches, Ilia Zdanevich found Pirosmani and began to diarize the events. Helen Djuar shared with me my professional joy and promised to present this diary and other archival material of her husband as a gift to the museum of arts of Georgia. This beautiful lady kept her promise in 1989. May her memory live forever - she died in December of 1992. By present time the diary is stored in the memoirs department of manuscripts in the Museum of Arts of Georgia. It was 1 Diaries are prepared for publication by Nana Gogelia. 2 Kirill and Ilia Zdanevich’s personal archive is stored in memoirs funds of manuscripts of Shalva Amiranashvili Museum of Arts of the Georgian National museum. In 19981-1988, Kirill Zdanevich’s daughter Valentine handed down to the museum personal archive of Kyrill and Ilia Zdanevich, which comprises the documentation about the life and creativity of the brothers. The personal archive of Ilia Zdanevich (the archive part is in funds of the centre of Pompidou in Paris) which was presented to the museum by Zdanevich’s wife Elen Djuar in 1989 is very valuable.

known about the existence of this diary from the books of Kirill Zdanevich, devoted to Pirosmani: “At last there is a new writing-book and Ilia has enthusiastically written: “Niko Pirosmanashvili. Drawings of the artist. His biography”. Some records from the diary of his brother were used by Kirill in articles and books in 1926 and 1963-65. He absolutely freely and autocratically altered the diary records. During many years the diary was stored at Kirill’s in Tbilisi and only at a meeting with Ilia in Paris, in 1966-67, after the persevering request of his brother, returned him the diary. It is the unique document. The incomplete list of the addresses of dukhans, where pictures of Pirosmani were hung, is unique and, also, “The Caucasian album”, which Michael Le-Dantju began in summer of 10123. It is well known, that by the end of 1910, the famous representative of Tbilisi avant-garde, Zdanevich’s close friend poet Kolau (Nicolay) Cherniavsky (1893, Ackermann-1943, Tbilisi), was making daily records about Pirosmani. He, still young, draw A. Blok’s attention, studied in N. Gumilyov’s literary circle ,took a great interest to M. Kuzmin’s poetry. Well known Georgian poet T. Tabidze (1895-1937) called him “Slav Omar Hajam”. Paintings of Pirosmani, which was K. Chernjavsky’s second ardor (besides poetry), he equated to the outstanding works of the world. K. Chernjavsky had the honour to be the first who discovered many pictures of Pirosmani. The picture “Mountain Arsenal at Night” by Pirosmani, (stored in the museum of Luis Aragon, Paris)4 once belonged to K. Chernjavsky. K. Zdanevich called K. Chernjavski “The Faithful Knight of Pirosmani’s Art. Day and night he searched for pictures of Pirosmani in Tiflis. K. Zdanevich used many facts for his books, collected in K. Chernjavski’s diary everything he knew about Pirosmani, and also quoted some fragments from it. According to the information, given to me by the niece of the poet, S.I. Chernjavskaja, his father (Kolau’s father, Igor) delivered Chernjavsky’s diary to just return from the exile Kirill Zdanevich, who was going to write a book about him. Since then the diary was lost. The destiny of one more diary about Pirosmani, which was kept by poet George Leonidze in 1030s, is also sad : the portfolio, in which this diary was, had been stolen by unknown persons. Brothers Zdanevich kept their personal diaries when they studied in gymnasium. This habit was suggested by their mom. Valentine Kirillovna Gamkrelidze, very cultural lady, gifted with both musical and literature talent. Ilia started to write-in records about the meetings with Pirosmani when he was 19 years old, a student. The diary represented an ordinary checked adversaria with a black oilcloth cover there are 21 sheets in it, but there undoubtedly must be other sheets too. All records are made by Ilia Zdanevich in black and dark blue ink, rarely - in pencil”.5

3 Stored in Tatlin fund of A.A. Bakhrushin Theatre Museum of Moscow 4 In 2015 donated to the Shalva Amiranashvili Museum of Fine Arts by Bidzina Ivanishvili. 5 Дзуцова И. “Пиросмани, Пиросмани…” Тб., 2013. с.7.

27 го, воскресенье.* Сегодня утром поехал сначала к Месхиеву, Черкезовская, 70, у которого купил портрет мальчика, работа 09 года за рубль. Оттуда пошол к Николаю. Николай сидел и писал мой портрет. Стали спрашивать о купленой картине. Портрет ещо только набросан, олень уже написан, кроме фона, исполнен великолепно. Сначала Николай отвел меня в сторону и сказал: когда выставка, если бы вы дали мне комнату, полотна - я бы вам за месяц написал 10-15 полотен, лучшых чэм те которые есть и лучшэ «Шереметьевсково сада». Потом я ему позировал. Дале он добавил: вот все мой вещи портят - вот напр.[имер] эта фреска, нарисован заяц, для чего заяц, кому нужэн – но просили: «нарисуй» для моего уважэния, рисую чтобы не ссорится. Так все картины портят... В доме Ениколопова, у меня была молочная на Вере, там висели коровы моей работы- ни за что их не отдавал. Потом дела пошли плохо и ... (повидимому хотел сказать, что начал пить). На мой вопрос не писал ли икон – ответил – иконописец, живописец, маляр, художник - все разное. Икон.[описцем] не был. Раз только писал Св. Георгия. А живописцы есть – буквы живые – а рисовать совсем не умеет. Жаловался на свою скверную одежду. Просил о том, что ему нужна комната никаму из духанщыков не говорить «Комната должна быть светлая, а то тут темно». Когда пишэт левую руку подкладывает под правую, чтобы правая не дрожала – вообшэ руки дрожат очень сильно. Руской язык учил сам - купил грузинскую книгу переведенную на руской. «Здесь, говорит, нельзя хорошо работать – пить заставлают». Был у него один автопортрет, «в хорошем платье, не таком» плохом. Но кому то продал. Олень его очень нравится Сандро: «Себе сам закажу». Спросил за сколько продает одно панно – 6 рублей. Дал Николаю 1 рублей, випил стакан вина распрощавшись ушол. «Мальчик» слегка потрескался. Кое какие трешины заправлены Кириллом. Вчера он сказал: картины бывают разными: можно писать цэлой месяц, или дажэ год - и все будет, что писать. Сегодня: картины у Баядзе мне признатся ненравятся, я могу Вам лучшэ написать. 28-го. Был у Николая утром. Он был выпивши. У портрета пририсовано дерево у оленя трава. Николай сказал, что он сердит на меня за опоздание, теперь же получил заказ над которым будет работать и за нево получил 60 копеек. Спрашиваю - какой? показивает фонарь домовой, на котором нужно надписать – Молоканская № и т. И это заказ? – «Как жэ, если мы не будем работать над низшым, как сумеем сделать высшэе?» Пришлось согласиться. Дале николай сказал, что служил разсыльным в управленiи железными дорогами и что воинскую повинность не отбывал. Затем попросил 1р. 50. Я сказал, что дам потом. Портрет сильно жухнет – не знаю, что выйдет. Повидимому напрасно попросил писать на холсте. Олень почти кончэн. Сказал, что принесу краски. Кадмия Николай не знает. Распрощавшысь я ушол. Перед обедом заехал вторично, но не видел, ибо Николай спал. Сказав, что приеду в четыре пошол по делам, потом к Якиеву, Песковская, 40 и купил Naturе-morte за1½ руб. Оттуда пошол к Николаю. Хозаин сказал, что за такую вещ не дал бы и 5 коп. Затем говорили о работах для меня, и о Ник.[олае] вообще. Сандро между проч.[им] сказал- он хотел нарисовать дерево и на него положыть Вашу руку и книги, а я приказал стоп. Что до оленя – сказал ему, чтобы нарисовал дерево, чтобы казалось, *

avtoris stili daculia / Style of the author is preserved.

что олень оперся на дерево. Я сказал, что Николай может рисовать как хочет и приказывать ему не нахожу нужным. Потом заговорили о той вещи, которую тот мне дарит. Сандро ее всячески хвалил и сказал: «лучшая вещ на вашэй выставке будет». Там изобр.[ажен] один князь, которово востребовал к себе Николай I и который был способен за обед выпивать 3 ведра вина и ещо двое. Потом разбудили Николая. Он пришол и сказал - : «У меня талант устал, я Вас ждал утром, Вы опоздали далее попросил 2 р. Я сказал, что принесу завтра, утром попросил к 8 час.[ам] Naturе-morte посмотрел – сказал помню, как жэ -это одна из лучшых вещэй ничэго,что маленькая, смело 100 рублей стоит. Потом я ему дал краски и ушол. он сказал, что через два часа встанет и будет работать над оленем, а для портрета нужно масло. Я заметил, что он можэт не слушаться никово и делать как ему нравится. 29-го Был у Николая утром и позировал. Олень готов, нужно только покрыть даммаровым лаком. Портрет значительно двинулся вперед. – Разсыльным служил 20 лет. Молочную имел в 902-03 годах. Родился в конце января 1863 года. Отец его садовник в саду «Ираклия» в 60 верстах от Тифлиса по Карск.[ой] желез.[ной] дороге. Там жил с 12 лет. Потом жил одно время в Шулаверах. В Кахетию ездит иногда на родину, там есть родственники. У Бего Якиева работал безплатно – только за еду. Есть его вещи в Белом духане по Манглис.[скому] шосэ. Дал ему 1р. Сандр.[о] Кочлашвили все время вмешывается и требует то дерева то листьев и т.п. С трудом удается его урезонить. Вообщэ, по-видимому, ни одной вещи Николаю не удается исполнить самостоятельно, без посторонних понуканий. «Если бы у меня было хоть 100 рублей - оделся бы, нанял комнату и тогда бы писал». Сказал ему, что напишу о нем в газете. По поводу «Шантеклер», что в «новом свете» сказал: «Шантеклер» не было написано, а «принимаются заказы». Я сначала нарисовал для одной портнихи. Она была старой и разсердилась за то, что написал таких молодых. Так и остались». Про духанщиков – эти делают вид что что то понимяют, на самом деле – ничэго. Потом он пошол за красками, я домой. «Сегодня не буду пить. Заходите. Потом цвет рисовать буду». Молочная сначала была на олгинской улицэ. Плотят все плохо, только бакинский, нач.[альник] станции Кипианов заплат. [ил] 30 рублей. Иногда хорошо платят машинисты и в мелоч.[ных] лавках. 30-го Вчера был второй раз. По поводу портрета работы Дантю на Вере сказал – непохоже. Сегодня утром был с Зигой. Принесли «Трех князей». Из за неe была драка – не хотели давать знакомые Сандро. По поводу рамы николай сказал - если стена светлая – черную раму, если темная – светлую. А то плохо видно. «Трех князей» он писал девять дней. Сердился, что небрит т. к. лицо выходит непохожим - потом подошол какой то тип и спросил сколько возьмет за портрет. Николай отвечал - 30 рублей. Обещал портрет кончить в субботу. - Оленя надо покрыть лаком, Князей маслом. Дал ещо ½ рубля. Потом с Зигой пошли по духанам смотреть картины. В Варяге предлагали Царицу Тамару за 3 рубля. Позировал - лицо стало очень похожим. Завтра кончит писать. Сказал - в Москве купит всякий буфетчик, только цену малую не назначаите. Если что нужно – пишите письмо я Вам пришлю что нужно. Три князя - князь Гульбатов, его дв.[оюродный] брат князь Чавчавадзе. Вечером был у Николая второй раз с братом. Когда мы пришли он сидел в глубине духана на скамейке и грел руки. Был немного пьян, узнав, что Кирилл художник очэнь обезпокоился им - хороши ли его работы. Брат сказал, что лицо слабо. Это его огорчило. Поднялся спор с Сандро из-за

лица и оленя. Сандро стал убеждать, что нужна луна. Николай заявил, что луны не полагается и разсердился. Просил принести кисти. Потом сказал мне, чтобы я ему показал хотя бы одну работу брата. Ушли. Канчели нашел, что он теперь похож на басяка. Кирилл производит ужасное впечатление. 31/го. Был у Николая утром и позировал. Портрет почти готов, оленю приписал небо. Вскоре я ушол, отправился В «Закавказскую Речь» узнать приняли ли письмо. Сказали, что будет завтра. Оттуда поехал опять к Николаю. Он сказал, что он служил на желез.[ной] дороге, потом простудился, заболел, пришлось на время бросить живопись. Потом выздоровев завел молочную сначала на Олг.[инской] в доме Ениколопова, потом на Солд.[атском] Базаре. В молочной висели картины его работы, что очень помогало торговле. Сначала дела шли очень хорошо, потом испортились, когда пришла война и он все потерял, нанял комнату в Колючей Балке. Теперь не имеет и этого и вот ужэ 9 лет живет живописью. В семье был младшим, рано остался сиротой, отца не помнит. «Вот раньшэ был богат, а теперь и одежы не имею». Дал еще рубль. В кахети есть отцовское имение, но там живет и управляет сестра, т. к. он не «земледелец». Когда мы выходили пришли какие то типы и начали критиковать портрет. Ник.[олай] сказал – «Не слушайте их, они дураки - ничэго не понимают». 1 го. Был у Николая утром. Портрет кончэн. Хотя все деньги отданы, попросил ещо. Сказал, что дам. За «Князя Гульбатова» нужно дать 2 рубля Сандро, который он якоби дал для успокоения каких то друзей. Николай ещо раз намекнул о своей просьбэ и т.д. Вчера вечером был в Варяге с Анановым, Татевосяном и Верховским, после провод Соболевского. Смотрели Николая. По мненiю Татевосяна у него есть кое какое чутье и он напоминает персидских художников, хотя значительно грубее. Краски - цвета нет никаково, вообшэ ничего замечательново. Тона объясняет беднотой красками. Верховский нашол его любопытным, Ананов тожэ – вобщем мнения неопределенные. Завтра утром работы будут покрыты лаком и к утру привезу их сюда. Николай сказал, что к вечеру высохнут. По ево мнению портрет очэнь похож - всякий скажэт, что это я. Мишень! На обратном пути останавливался на несколько дней В Москвѣ, где видел чуствительную японскую артистку Танако, которая мнѣ напомнила и Сузуки и тангремлю и Рождество 909 года […]. Надеюсь, ты собираешься получить медаль для поддержания чести фамилиi. Одни не […], другой […] на серебранную, но ты уж мѣть в золото. Поцелуй от меня маму кланяйся согрожданам. Встретишь Соболевского скажи, что жду ответа на письмо*. Илья Зданевич Здесь, в Ортачалах есть сад «Эльдорадо», который вполне оправдывает свое названiе. Ибо в одном из строенiй находящихся в нем висят шестнадцать работ Нико Пиросманашвили. Кому знакомо это имя? Поистинѣ - не ищете и найдете. Подлинные сокровища здесь, под боком, а кто знает о них? Кто знает о том, что в Тифлисе есть художник обладаюший исключительным талантом, исключительным пониманiем своего ремесла, которому по праву принадлежит исключительная слава, что этот человек работает по духанам, не имеет возможности * dRiurSi CarTulia ilia zdaneviCis mier Zmisadmi gagzavnili werilis Savi piri / The draught copy of the letter, sent by Ilia Zdanevich to his brother, is included in the diary.

работать хорошими матерялами, чьи удивительные создания висят по сырым подвалам или написаны на сырых стенах трескаются и гибнут. Быть может никто никогда бы и не узнал. Но летом прошлого года несколько прiезжих Московских художников наткнулись на его работы они сумели оценить творчество, их достоинства, приобрести некоторые работы и весной этого года эти преобретения будут вывешены на Московской выставке «Мишень» организуемой группой молодых художников. Думаем в Москве их смогут оценить. Вот перед мной номер «Московской газеты». Читаю: «Грузин Пиросманашвили, тифлисец, очень популярен среди туземцев, как искусник в стѣнной живописи, которой он украшает, главным образом духаны. Его своеобразная манера, его мотивы, тѣ немногочисленные средства с которыми достигается так много, великолепны». А нѣсколько выше он назван замѣчательным примитивистом. . Да, по истине - Пиросманашвили замѣчательный примитивист. Пойдите в духан Бего Якiева (Песковская, 40), или Месхiева (Черкезовская, 70), или Озашвили (Молоканская, 50), или Баядзе (Вокзальная, 24), или в «Варяг» (Таможенная, 6), или в «Новый свет» (На Верэ, против порома), или к Сирадзе (Муштаидский, 15), к Кочлашвили (Молоканская, 23), в «Дарданеллы» (Воронцовская площадь) и везде вы можете найти его клеенки и холсты. Сюжеты различны. В «Эльдорадо» ряд типов-дворник, кормилица, шарманщик, лакей, продовец цветов, повар, несколько женщин, далее рисунки животных - олень, жираф, лев. У Озашвили панно «Сбор винограда близ Бакурцихе», у Месхиева большая роспись стены «Долина алазань» у Баядзе «Князь Барятинскiй, покоритель горцев», «Рыбак», у Якиева - «Портрет Руставели», «Царица Тамара», «Тифлисский фуникюлер», «Поломничество к церкви св. Антоня» и «Обед», несколько портретов, В иных местах портреты, натюрморты пейзажи иллюстрацiй к «Барсовой коже». Иногда, композиция картин заимствована. Но исполненiние претворяет и преображает эти простые мотивы, его работы так синтетичны, живописны и правдивы, сделаны с таким мастерством в них он сумел так выявить дух расы и показать великолепие культуры своего народа, что этот слава Богу, нигде не учившиiся живописец, человек кажется нам одним из символом и лучшим явлением. В его сценах великолепно передан дух расы, родные типи и мотивы. Только народ с богатым культурным прошлым мог родить его. Его творчество в своем существе глубоко синтетично - лицо упрощены, лица вообще, люди - люди вообще. Но эти люди подобны великолепным цветам, ибо в конце концов они разрешения цветовых задач. Он берет простую черную клеенку, пишет на ней портрет – но куртка мальчика, которую он рисовал, была бархатной. Он ставит удивительные цветовые задачи и удивительно умеет их разрешать. Но цвет не убивает чуство формы – посмотрите, как превосходна лепка его натюрмортов, а занятый формой он не забывает материала – если он пишет бархат – то всякiй скажет, что это бархат, хотя для его передачи он лишь оставляет незакращенной ту черную клеенку, на которой пишет портрет. И благодаря тому, что он владеет всеми средствами живописной передачи предмета его работы так убедительны и хороши и его появленiе на московских выставках должно принадлежать к значительнейшим явлениям художнственной жизни последних лет. Однако слава должна была придти раньше. Ему уже 50 лет. Этот мастер живет по подвалам, там где дают работу, разсыпает талант за гроши, пишет за обед или стакан вина, скверно одѣт, работает дешовыми красками на скверном

холсту или простой клеенке, (ибо хорошее-дорого; от чего его трудам суждена преждевременная смерть. Мы не можем требовать, чтобы с нами соглашались - так много лагерей в искусстве. Но мы думаем, что те, кто сумеет понять Пиросманашвили - дольжны оказать ему помощь - их дела не будут забыты. Они должны поддержать хорошими заказами, дать ему возможность одется и обзавестись светлой комнатой, ибо в темных подвалах слишком тяжело работать. Это так немного. И нельзя дать погибнуть картинам, которые вскоре станут украшением геллерей и музеев. Нынче, когда хорошего так мало нужно особенно ценить этот удиви.[тельный] редчайший самородок. Равнодушiе было бы слишком крупным преступленiем. Вопросы, которые необходимо предложить Николаю для его биографии. 1) Когда родился? ( год, месяц, число) 2) Где родился? 3) Кто отец? 4) Кто мать? 5) Есть ли братья или сестры? 6) Воспоминания детства? 7) Где жил в детстве? 8) Где жил вообщэ? 9) У кого жыл? 10) На чьи средства? 11) Учился ли где либо? 12) Когда начал рисовать и чэм? 13) К какому году относятся какие вещы. 14) Какие мотивы вдохновляют и каково отношение к сюжету 15) Нет ли в творчестве периодов и цыклов. 16) Что читал, что произвело впечатление 17) Какие важные события в жизны, какие воспоминания съ последними годами? 18) Учился ли рисовать у кого либо? 19) Каких художников знает и кто наиболее нравится 20) Какое отношение к старине 21) Для чэго живопись? нужно ли искусство. какова ево цэль 22) Откуда пачэрпнул знание животных: львов, тигров, жираф. 23) Кто поощрял и оказывал большэ внимания. 24) Где находятся полотна? 25) Сколько платили за работу? 26) Каковы душевные настроения во время работы?

27) отношение к жизни вообще 28) Кто учил русскому языку? 29) Кого из грузинских поэтов читал? 30) Кого читал из русских? 31) Какая вещ любимая из произведений поэзiи? 32) Каково мнение о Борсовой кожэ? 33) Когда и где попалась в руки Б[арсова] К[ожа] с иллюстрациами Зичи, и как с них снимал? 34) Какая архитектура нравится? 35) Что бы хотел, по отношэнию к своей живописи? 36) Какие недостатки видит у себя? 37) Отношэние к частям худ[удожественного] произв[едения] - линии, фактуре, плоскости картины, линии и форме? 38) Какие краски любит и предпочитает? Как их готовит и т.п? Какие краски лучше? Желал ли бы переменить на тюбичныя? 39) Мнения о холсте, дереве, клеенке. Каковы достоинства тех и других 40) О раме- какая нужна рама и нужна ли вообщэ? 41) Что важнее в живописи - что или как? 42) Отношэние - к задачам освещэния, лепки, формы, пространственности, сюжета. 43) Мнения о традиций и новаторстве. 44) Нужны ли теорий? непосредственность в живосиси? 45) Отношэние илюстраций к тексту и ее значэние? Что преследует иллюстрацiя? 46) Мнение о илюстраций при книге? Мог ли бы илюстрировать книгу? Книга с илюстр.[ ациами] и без. – какая лучшэ цветная илюстр[ация] или чорная? 47) Декоратив.[ная] деательность? Роспись стен? Материалы и цели? 48) Не писал ли религиозных композиций? Если нет то почэму 49) Мнения о пейзажэ и nature-morte? Почему в большинстве картин человек и мало чистых пейзажей? Не писал ли nature-morte? 50) О яркости в картине и ея нужности? 51) Что преследует портрет? только ли внешнее сходство или и некий символ? 52) Имеет ли монументальность связь с достоинством искуства? Если да, то почему? 53) Что необходимо для работы? Какова роль знаний и их значэние и роль таланта? 54) Нужно ли живопись? Нужность ея не есть не санкция и ненужность доказательство никчомности творчества? 55) Играет ли для Николая какую нибудь роль поощрение и цэнит ли он похвалы? 56) Есть ли различие меж «маляром» и «художником» 57) Какое различые меж «самоучкой» и «учившимся» и какие преимущэства у второво по сравнению с первым или наоборот?

58) Какова роль чувств? Искусство, должно ли оно быть связано с жизнью творца или нет? 59) Достоинства или недаст.[атки] творца могут ли переноситься на искусство? 60) Значение индивидуальности в искустве и ее предел? 61) Значение преемственности от стараго и сознает ли он ее у себя? 62) Значение коллективной работы и в каких пределах она возможна? 63) Город и деревня? Достигал ли ево этот раз? К чему он клонит если да? Или синтетическое стремление не дало почуствовать разлада земли и человека? 64) В прошлом он или настоящ.[ем] ли будущэм? Много ли воспоминанiй 65) На что надеется, для чэго живёт, какия цэли, как бы хотел кончить жизнь? 66) Отношэние к музеям, их роли и собиранию картин? 67) Почувствовал ли разницу между живой картиной и музейной? Если да, то мнения? 68) Отношэние к своей известности и своим картинам? Какая судьба для них наиболее жэлательна? 69) Мнения о выставках 70) Играют ли роль национальные мотивы? В. К. Зданевич 23/3.** Сегодня получил письмо и Закавказскую Речь. Возмущен несказанно. Более нелепо изуродовать - мое письмо решительно было невозможно. Если у них не было места - могли просто не печатать, но переделывать... Вышли такiе комизмы: совершенно непонятно почему я говорю именно о Эльдорадо, а не о каком нибудь либо ином духане (В писмѣ говорилось об опровданiй названия духана Ельдорадо); оказалось безсмысленным перечисление погребов раз не указаны адреса и никто не будет знать куда идти, т. к. фамилiй ничего не говорят; правильная транскрипция «Фуникюлёр» - заменена «тифлисской» - Фуникулёр; пропущено место о цветовых задачах выкинуты замечания по поводу формы и материяла; «живописная передача предмета»... ...газете, где должно, было быть напечатано мое письмо. Но из моей статьи учинили какое то постыдное уродство и безграмотное и глупое, так что даже стыдно показывать. Хорошо еше что фамилiи не напечатали. Как здаровье Наталiи Сергеевны. Передайте мой привет и пожелания быстрого поправления. 3-го числа на докладе по поводу Репина устраиваю происшествiе. Vae Victis. Радуйтесь мудро. Ваш Ильа Зданевич P. S. Не вините за орфографию. В последные дни была много академической работы заставившая меня вновь усвоить академическое правописание.

* dRiurSi CarTulia ilia zdaneviCis mier mixeil larionovisadmi gagzavnili werilis Savi piri / The draught copy of the letter, sent by Ilia Zdanevich to Mikhail Larionov, is included in the diary.

Картины Нико Пиросманашвили I. 1) 2) 3) 4)

Духан «Дарданеллы». Воронцовская плошадь, угол Михайловской. Три иллюстрацый к «Барсовой Кожэ»: Шота Руставели преподносит поему царицэ Тамаре Автандил находит Тариела со львом и барсом Тариел у ручья Портрет

II. 1) 2) 3) 4) 5) 6)

Трактирное заведение «Варяг».Таможеная улица, 6 Сбор винограда. Пано Декоративное пано Портрет Убийство Царица Тамара Двойной портрет

III. 1) 2) 3) 4) 5)

Трактир.[ное] завед.[ние] Таможеная, 6 Вывеска Обед Эскиз Процэсия Обед

IV. 1) 2) 3) 4) 5) 6) 7) 8) 9) 10) 11) 12) 13)

Духан Бего Якиева (Якишвили). Улица 19 Фераля, 40. Вывеска Обед Портрет мужчины Портрет мужчины Обед Молитва Обед Фуникюлёр Убийство Двойной портрет Царица Тамара Царица Тамара Обед

** dRiurSi CarTulia ilia zdaneviCis mier mixeil larionovisTvis gagzavnili werilis Savi piri

14) 15) 16) 17) 18)

Арба Руставели Баран Муж.[ской] порт[рет] Муж.[ской] порт[рет]

V. 1) 2) 3) 4) 5) 6) 7) 8) 9) 10) 11) 12) 13) 14) 15)

Сад «Эльдорадо» Титичэва. Ортачалы. Воронцовская ул. Повар Кормилица Субретка Жэнщына с бубном Дворник Диптих. Субретки Шарманщик Жэнщына с веером Жэнщына с протыней Лакей с подносом Продавец цветов Жэнщына с цветком Лев Олень Жыраф

VI. Сад «Аргентина». Орточалы. Воронцовская ул. 1) Вывеска VII. Духан «Фантазия». Воронцовская, 41 1)

Жэнщына с кружкой

VIII. Авлабар. Погреб 1) Вывеска IX. Погреб «Карданах» Сандро Кочлашвили. Молоканская, 23 1) Обед 2) Обед 3) Обед

4) 5) 6) 7) 8) 9)

Пляска Сцена со знаменем Росписанная стойка Росписанная стена Лев Слон, тигры, кабан и медведь

X. Погреб Баядзе (Баязэ) Вокзалная, 24 1) Рыбак с удочкой и ведром 2) Девочка с шаром 3) Пейзаж 4) Осел с дровами 5) Баран 6) Олень 7) Жэнщына с кувшином и дети 8) Триптих. Князь Барятинской, покоритель лезгин XI. Духан «Новой Свет» (прежней «Сан-Суси»). Вера пртив порома. 1) Обед 2) Паром 3) Рыбак 4) Кинто 5) Олень 6) Обед 7) Эскиз 8) Жэнщына с бубном 9) «Шантеклер». Два жэнcких портрета 10)

XII Подвал Г. С. Месхиева. Черкезовская, 70 1) Медведь 2) Кабан 3) 4) Мужские портреты 5) 6) Старик жарящий шашлык. Роспись стены 7) Долина Алазан. Роспись стены №12

8) 9)

Лежащая жэнщына №76 Продавец арбузов. 4 №128?

XIII. Погреб Ениколопова. Таможеная, 6 1) Вывеска «Алазанская Долина. Моди мнахе» 2) Пано. Религиозное шэствие. 1911 3) Борцы 4) Обед 5) Жэнщина 6) Кинто XIV. 1) 2) 3) 4) XV. 1) 2)

Духан Сирабе. Муштаидской пер. 15 Коляска Обед Пано. Обед Частное собрание М. В. Ле-Дантю. СПБург. Гороховая 68, кв. 19 Обед (4 мущын) Жэнщына с кружкой пива

XVI. Погреб В. Озашвили, Молоканская, 50 1) Панно. Сбор винограда в Карданахи в быв.[шем] 2) Шереметьсвском имении, близ Бакурцихе. 1912 3) Обедь. 1912 XVII. Собрание И. М Зданевича. 1) Портрет мальчика. 1909. прiобр.[етен] 27/I. 913 за 1 р. № X II) Мальчик в бархатной куртке 2) Nature – morte. Кувшины, бурдюк, арбуз, выноград, рыба и дичь 1910. прiобр. [етен] 28/913 за 1. 50 р. У Бего Якiева 3) Портрет И. Зданевича. Писан в янв.[аре] 913. № 147. по заказу за 2 руб. 4) Олень. янв.[ар] 913. №148. по заказу за 2 руб. 5) Князь Гульбатов и ево гости. 910 г. подарок С. Кочлашвили 6) Олень. Приобрет[ен] 914 №117

XVIII. «Белый духан» по Манглискому шосэ

Теперь, после знакомства с Николаем, я знаю, что такое жизнь

Через пятдесят лет, мои воспоминания о Нико Пиросманашвили изменили свой характер, потеряли случаиность. Мне он мыслится теперь неотделимым и от среды в которой возникла его слава и от обстоятельств которые привели к ней. Впервые я увидел картину Нико летом 1912 года вернувшись из тогдашнего Петербурга где я был студентом на побивку в тогдашниий Тифлис. Это был обед куртинов и висел он в ателье дома на углу Губинской и Святополк-Миркой улиц где проживал в это время мой друг художник Михаил Ледантю, приехавший к нам гостить из Петербурга. Дом где находилось ателье принадлежал прежде моему отцу и был им построен и населён художниками. Верхний этаж занимали два ателье. Соседние с тем где жиль Ледантю за долгие годы до этого 1912 года когда дом ещё был нашым ( Мы ещё были детьми) занимал художник Трифонов, северянин, не то академик не то передвижник. Но перед смертю он начал писать огромное полотно на котором вереницы людей бросались или падали в огонь и выходили оттуда призраками образуя длинное тела дракона. Под ателье Ледантю Жиль жудожник Фогель маринист и кажется воспитанник Мюнхенской академий. Его свояк художник Склифасовский учил нас рисованию в школе обшества поощрения изяшних искусств. Ателье же где жил Ледантю долгое время занимал художник Борис Лопатинский, парижанин, передовых взглядов, познакомивший меня с футуризмом Маринетти. После Лопатинского ателье перешло моему брату Кириллу, потом ко мне а затем его занимал Дито Шеварднадзе. 1912 год был важним годом . в историй русских художественный идей. В конце 1911 года я поступил в Петербургский университет и привез с собой на север итальянский футуризм о котором в Россий ещё никто ничего не знал. 18 го января, в Троицком театре, после доклада поэта Боброва я выступил с речью и чтением манифестов. Известно с какой бистротой слово футуризм распростронилось и его идеи захватили молодые художественные круги в виде реакций против осточертевшего нам Мира Искусства и Золотого-Руна, о которых мы только и слышали у Фогеля и у доктора Соболевского у Сергея Завриева и прочих корифеев Тифлиской художественной жизны. С художником Михаилом Васильевичем Ледантю я познакомился В Петербурге, и моя мать пригласила его приехать в Тифлис. Когда я приехал к лету Ледантю жил там уже некоторое время, когда он и наткнулся в Тифлисских духанах на картины Нико.

avangardi

(1910-1939)

Salva amiranaSvilis saxelobis xelovnebis muzeumis koleqcia

AVANT-GARDE

(1910-1939)

Collections of Shalva Amiranashvili Museum of Fine Arts

dro... personebi... artefaqtebi... «Авангард – плод исканий непримиримой интелигенции, мечтающей о свободе, деятельность группы людей, создающих некие объекты, внешне порой напоминающие картины и статуи. Они также создают разнообразные тексты, позволяют себе делать парадоксальные жесты, несущие закодированную информацию, со своими синтаксисом и семантикой, ключ к шифру от которой не существует».* Турчин В. «По лабиринтам авангарда»

avangardi modernistuli xelovnebis sawyisi etapia da is XX saukunis I aTwleulebis xelovnebaSi `revoluciur~ gardaqmnebs gulisxmobs. misi ganviTareba industriul-teqnologiuri Zvrebis fonze mimdinare msoflmxedvelobrivma cvlilebebma, gansakuTrebulma anTropologiurma aqtiurobam ganapiroba. krizisma politikur-ekonomikur, socialursa da kulturul sferoebSi saukuneebis manZilze Camoyalibebuli Rirebulebebisadmi nihilisturi damokidebuleba warmoSva. progresuli, inteleqtualuri sazogadoeba sayovelTao ganaxlebisa da sazogadoebriv-socialuri ierarqiis radikaluri cvlilebebisken iswrafvoda, rac avangardis SemoqmedT xelovnebis tradiciuli formebis mimarT konfrontaciisken ubiZgebda. haeri revoluciuri ideebiT iyo gaJRenTili. es iyo dro, rodesac `xelovnebaSi cvlilebaTa TariRiT SeigrZnoboda istoriis majiscema~1. avangardizmi, rogorc axali nakadi kulturuli evoluciis gzaze, xelovnebis ganviTarebaSi Ziebebis, novaciebis, manamde arnaxuli da warmoudgeneli mxatvruli sistemebisa da Teoriebis Casaxvis xanaa. misi idea adamianis mier `maSinizmisa~ da teqnokratiuli miRwevebis prizmaSi samyaros axleburi Semecnebaa. avangarduli xelovneba da msoflxedva Semoqmedis ukiduresad subieqtur mxatvrul azrovneba* katalogSi gamoyenebuli citatebi Targmna n. ServaSiZem. `avangardi Tavisuflebaze meocnebe Seurigebeli inteligenciis Ziebis nayofia, adamianTa jgufis Semoqmedebis Sedegad Seqmnili raRac obieqtebi, romlebic xandaxan garegnulad suraTebs an qandakebebs hgvanan. es adamianebi Tavs paradoqsuli Jestebis keTebis nebas aZleven, qmnian sxvadasxvagvar teqsts, romlebic Tavadaa kodirebuli TavianTi sintaqsiTa da semantikiT. maTi gasaRebi ki ar arsebobs~. Турчин С. По лабиринтам авангарда. М., 1998. с. 4. 1 v. ivanovis es citata moxmobilia wignidan: Боулт Д. Художники русского авангарда. М., 1990. с. 90.

zea fokusirebuli. uaryofs ra yvelanair kanonikasa da ierarqias, igi qmnis sakuTar realobas, arcTu iSviaTad - absurdulsac ki. epoqaTa ganmavlobaSi Camoyalibebuli esTetikuri sqemebi sruliad axali vizualuri da verbaluri sistemebiT icvleba. yalibdeba axali mxatvruli kodebis sistema, romelic am axali realobisa da axali msoflmxedvelobis gamosaxatavad iqmneba. avangarduli xelovnebis SemoqmedebiTi procesis mizani, misi aramimeturi sawyisi iseTi ideisa da formis Sesaqmnelad iyo orientirebuli, romlebic damaxasiaTebeli iqneboda mxolod Tavad xelovnebisTvis da bunebisa da garemos mibaZvasTan araferi eqneboda saerTo. misi WeSmariti da umniSvnelovanesi misia iyo Zieba im gzisa, romelic ideologiur-kulturuli qaosisa da msoflio kataklizmebis pirobebSi kulturis ganviTarebis mimarTulebas gansazRvravda. renato bojoli avangarduli kulturis arsis sam ZiriTad niSans gamoyofs: aqtivizmi (moqmedebis siyvaruli, dinamizmi da win swrafvis mudmivi survili), antagonizmi (istoriuli da mxatvruli wesrigis oponireba, antitradicionalizmi), nihilizmi (destruqciuloba da infantilizmi).2 es niSnebi met-naklebad da sxvadasxva interpretaciiT iCenen Tavs avangarduli kulturis ganviTarebis arealSi, romelmac mTeli dasavluri civilizacia moicva da, amasTanave, gamoiyena mis miRma arsebuli uZveles kulturaTa tradiciebic. multinacionalur kulturaTa urTierTzemoqmedeba ganviTarebis sruliad gansxvavebul tradiciebs gulisxmobs: iaponuri mxatvroba, afrikuli qandakeba, rusuli da ukrainuli xalxuri xelovneba, Sua saukuneebis xaTwera. yovel kulturul movlenas sxvadasxva nacionaluri da regionuli tradiciebi gansakuTrebul JReradobas aniWebdnen. kulturuli avangardi mxatvruli mimdinareobebis, mxatvarTaA jgufebis, individebis, formaluri Tu konceptualuri sistemebis mravalferovnebiT xasiaTdeba. axali xelovneba, xSirad sazogadoebis didi nawilisTvis gaugebari da skandaluri, mayureblisgan metad iTxovda intuicias an verbalur SeTanxmebas mayurebelsa da avtors Soris. sxvadasxva mimdinareobis manifestebi, teqsturi interpretaciebi mayurebels am axali mxatvruli epoqis Tanaziars xdida. avangarduli xelovneba deklarirebda yovelgvari TxrobiTobis, literaturulobis winaaRmdeg. amasTanave, vizualuri Sedegis garda, operirebda saprogramo manifestebiT, traqtatebiTa da TeoriebiT, romelTa meSveobiT amkvidrebda axal mxatvrul kanons. saxviT xelovnebaSi, literaturaSi, poeziasa Tu qoreografiaSi axali plastikuri enis, axali metaforebis, sityvis, sasveni niSnebisa da neologizmebis sistema Semodis. kulturis yvela sferoSi principulad axali gamomsaxvelobiTi enis Zieba mimdinareobs. absurdi, epataJi am ZiebaTa Tanmxlebi realobebia...

R. Poggioli. The Theory of Avantgarde. Hurvard. 1962.

`me arafris meSinia imitom, rom araferSi brali ar mimiZRvis.~ dimitri SevardnaZis dakiTxvis oqmidan С закрытими глазами видел пулю

Она тихонько кралась

к поцелую

А. Кручёных «Война» dimitri SevardnaZis (1885-1937) iniciativiT, 1920 wels tfilisSi qarTvel mxatvarTa sazogadoebis damfuZnebelma sabWom Tavisi dekretiT safuZvelze daaarsa saqarTvelos erovnuli galerea, romelmac Semdgom safuZveli Cauyara Salva amiranaSvilis saxelobis xelovnebis muzeums. gacilebiT adre samuzeumo saqmis enTuziastebma _ dimitri SevardnaZem, Salva amiranaSvilma, eqvTime TayaiSvilma, irodion sonRulaSvilma da giorgi boWoriZem MmTel saqarTveloSi daiwyes xelovnebis nimuSebis - momavali muzeumis eqsponatebis moZieba da Segroveba. erovnuli galereis pirveli direqtori dimitri SevardnaZe _ mxatvari da sazogado moRvawe, eruditi, romelmac mTeli cxovreba samuzeumo koleqciis gafarToebasa da gamdidrebas miuZRvna, ocnebobda, saqarTveloSic Seeqmna ermitaJisa da luvris donis muzeumi. man gansazRvra galereis koncefcia rogorc farTo speqtris muzeumisa, romelic moicavs Zveli da axali drois dasavlursa da aRmosavlur xelovnebas. galereisa da, mogvianebiT, ukve muzeumis arsebobis pirvelsave wlebSi, misi fondebisTvis SeZenil iqna iranuli, Cinuri, evropuli da rusuli xelovnebis Sedevrebi, Sua saukuneebis unikaluri qarTuli Zeglebi, firosmanisa da im drois sxva qarTvel mxatvarTa namuSevrebi. evropuli ferweris udides SemoqmedTa _ paolo venecianos, bernardo dadis, lukas kranaxis, iakob ruisdalis SesaniSnavi ferweruli tiloebi, yajaruli periodis iranuli portretebi muzeumisTvis SeiZines kerZo pirebisa da sxvadasxva organizaciisgan. dimitri SevardnaZisa da mxatvarTa sazogadoebis gamgeobis mizani Zveli xelovnebis nimuSebis Segrovebasa da popularizaciasTan erTad axali xelovnebis galereis Seqmnac iyo. jer kidev XX saukunis 10iani wlebis dasasrul samuzeumo fondebis Sesavsebad yuradReba gamaxvilda Tanamedrove xelovnebis sxvadasxva mimarTulebis namuSevarTa SeZenaze. SevardnaZe axalgazrdobis wlebSi Tavad iyo gatacebuli germanuli da franguli xelovnebiT, kargad erkveoda Tanamedrove xelovnebis yvelaze radikalur

mimdinareobebSi, dainteresebuli iyo adgilobrivi Tu tfilisSi droebiT Camosuli axalgazrda mxatvrebis SemoqmedebiT, romelTa xelovneba xasiaTdeboda axali mxatvruli formebisa da gamomsaxvelobiTi xerxebis ZiebiT. 1928 wels mxatvarTa sazogadoebis gamgeoba mTavrobisaTvis wardgenil Tavis angariSSi xazs usvams Tanamedrove xelovnebis galereis Camoyalibebis aucileblobas. `…mxatvris beWdviTi organoc da scenac aris galerea, sadac unda ikribebodes yoveli axali Rirebuleba, romelsac Tanamedrove mxatvroba aZlevs qarTul xelovnebas. aseTi galerea Cven ar gagvaCnia…. … es iqneba metad mniSvnelovani kulturuli dawesebuleba, sadac mokle xanSi qarTuli sazogadoeba dainaxavs, rom qarTuli mxatvroba arc ise Raribi yofila, rogorc bevrs gonia da momavalic didi aqvs da friad saimedoc, amas garda am Tanamedrove galereaSi SeZlebisamebr Sekrebili iqneba Tanamedrove ruseTisa da sxva saxelmwifoTa mxatvrobis sanimuSo eqsponatebi, rom qarTvelma masam SesZlos imis gageba, Tu ra xdeba am dargSi saqarTvelos gareTac~.1 1920-iani wlebis dasasrulisTvis samuzeumo koleqciaSi ukve sakmao raodenobiT iyo dagrovili uaxlesi xelovnebis nimuSebi. Tanamedrove qarTvel da tfilisSi moRvawe araqarTvel mxatvarTa namuSevrebi saqarTvelos respublikis mTavrobis xelSewyobiT erovnuli galereisTvis, ZiriTadad, 1919 wels mowyobili saSemodgomo da sagazafxulo gamofenebidan SeiZines. qarTvel mxatvarTa sazogadoebis 1919 wlis angariSSi vkiTxulobT: `sazogadoebam moawyo sami gamofena: erTi Zvelis, saeklesio kedlis mxatvrobisa 1917 wlis damdegs da oric 1919 wels: maisSi – qarTvel axlandel mxatvrebis nawarmoebTa da dekemberSi saqarTvelos _ teritoriaze mcxovreb sxvadasxva erovnebaTa mxatvrebis nawarmoebTa. gamofena sazogadoebam gaxsna 1919 wlis maisis 4-s. es iyo pirveli koleqtiuri gamofena axlandel qarTvel mxatvrebisa. suraTebi warmoadgines sxvadasxva mimarTulebis mxatvrebma. aqve iyo gamofenili qandakebanic. am gamofenis wyalobiT daaxlovebiT gamoaSkaravda Cveni qveynis samxatvro Zalebi. mesame gamofena gaixsna 1919 wlis dekembris 12-s. Cvenma sazogadoebam didebis taZarSi Tavi mouyara axla, saqarTveloSi mcxovreb sxvadasxva erovnebis mxatvarTaA mier Sesrulebul suraTebs da qandakebebsa~.2 1921 wels, gasabWoebis Semdeg, demokratiuli ganviTarebis gzaze mdgom qveyanaSi sabWoTa diqtatura damkvidrda. 10-iani wlebis meore naxevarSi qarTvel da ruseTis imperiis sxvadasxva kuTxidan TbilisSi Tavmoyril SemoqmedTa revoluciuri Ziebebi xelovnebasa Tu realur cxovrebaSi politikur-socialuri revoluciiT ganxorcielda da sul male radikalurad Secvala mxatvrul-esTetikuri idealebi. drosa da ideologias qveynisTvis Rirseuli adamianebic emsxverplnen…. Tavad dro iyo vnebiani, boboqari, dinamikuri da aramdgradi. jer kidev sagrZnobi iyo `tfilisuri~ avangardis gamoZaxilic…...

1 abesaZe i., bagratiSvili q. dimitri SevardnaZe. Tb., 1998. gv. 108. 2 Salva amiranaSvilis saxelobis xelovnebis muzeumi. sainformacio koleqciebis xelnawerTa memuaruli fondi. fondi 1 (saqarTvelos xelovanTaA sazogadoeba). anaweri #1. saqme # 8. gv. 1.

«Старый Тбилиси показался мне городом из «Тысячи и одной ночи». Мы бродили по несканчаемому Майдану; там продавали бирюзу в смоле и горячие лепёшки, английские пиджаки и кинжалы, кальяны и граммофоны, пахучие травы и винтовки, портреты царицы Тамар и доллары …»1 Илья Эренбург. «Люди, годы, жизни» `qveyana marTla iqceoda da mxolod tfilisi iyo erTaderTi qalaqi, romelic am `qcevas~ poeturi mReriT xvdeboda.~ g. robaqiZe. `falestra~

da marTlac, gasuli saukunis 10-20-iani wlebis tfilisi gamoirCeoda gansakuTrebuli xibliTa da ganumeoreblobiT. regionis es sakmaod msxvili administraciuli da finansuri centri aRmosavleTisa da dasavleTis gzasayarze, TavisTavadi arqiteqturuli iersaxiTa da cxovrebis niriT, erTmaneTs uxamebda aziur egzotikurobasa da evropul modernizms. tfilisis multinacionaluri da multikulturuli iersaxe gansazRvravda cxovrebis stilsa da qalaquri landSaftis gansakuTrebul koloritulobas. wuTiT warmovidginoT mtkvris kldovan napirsa da viwro quCebis Tavze `gadmokidebuli~ saxlebis aivanTa xis maqmanebi da SuSabandebi, sxvadasxva enaze mosaubre xalxmravali maidnis siWrele da xmauri, riyeze Camwkrivebuli iSviaTi xaliCebisa da spilenZis WurWlis saxelosnoebi Tu savaWro fardulebi, Tevzisa da xilis daxlebis naturmortebis esTetizmi Tavisi xatulobiT holandiur naturmortebs didad arc Camouvardeboda, mtkvarze mocurave wisqvilebis wyeba, germanelTa koloniisa da sololakis .`tfilisuri modernis~ sacxovrebeli saxlebi. amas daumateT Zvel qalaqSi, erTmaneTis gverdigverd, mdgari qristianuli taZrebi, meCeTebi da sinagogebi, baniani saxlebi, aRmosavluri `Wreli abanoebi~ da mxatvar-avangardistTa mier moxatuli klub-samikitnoebi, sadac leqsebs kiTxulobdnen futuristi poetebi. or nabijSi ki tradiciuli, naxevrad bneli duqnebis kedlebs amkobda niko firosmanis ferweruli Sedevrebi, romelTa pirvelaRmomCenebi Zmebi zdaneviCebi da mixeil le-dantiu iyvnen. erTdroulad ismoda aRmosavluri musika, zurna-dudukis xma, dilis saari, orTaWalis baRebidan ki evropuli sacekvao musikis hangebi iRvreboda, saxazino TeatrSi italiur operas mRerodnen… da Tqvenc, albaT, SeigrZnobT tfilisuri 1 `Zveli Tbilisi `aTas erTi Ramis qalaqad~ meCvena. Cven davxetialobdiT usasrulo maidanSi. iq yiddnen qarvaSi Casmul firuzsa da cxel-cxel lavaSebs, inglisur pijakebsa da xanjlebs, kaliansa da gramafons, surnelovan balaxebsa da SaSxanebs, Tamar mefis portretebsa da dolarebs…. Эренбург И. Люди, годы, жизни. М., 2005.

yofis fantastikurobasâ&#x20AC;Ś `xandaxan qalaqSi TiTqos moulodnelad nela moaruli aqlemebis qaravani gamoCndeboda. Semdeg tfilisi ayvavebuli da stumarTmoyvare arabuli Ramis qalaqis saxes iZenda~.2 es aRmosavlur-dasavluri nazavi, aRmocenebuli Zlier adgilobriv fesvebze, sadac yvelaferi mainc Zalze qarTuli da TviTmyofadi iyo, badebda erTgvari Teatralizebisa da silaRis STabeWdilebas. aq cxovreba T i T q o s TamaSiT gahyavdaTâ&#x20AC;Ś . aseTi warsdga tfilisi futuristebis, mxatvrebisa da poetebis winaSe, romlebmac Tavi daaRwies revoluciis qarcecxlSi gaxveul ruseTs da mcire xniT Tavi tfiliss Seafares. 1918-1920 wlebSi rusebis mravalricxovani kolonia maidnis axlos binadrobda. `Suqma da haeris yinulisebrma elvarebam

B. Kardeman. Kirill Zdanevich and Kubo-futurism . Tiflis. 1918-1920. Rachel Adler Gallery. New York. 1987.

Semiqmnes me pirveli STabeWdileba tfilisze, rogorc erTgvar aRmosavlur florenciaze…. me jer ar minaxavs aseTi daxlarTuli, Wreli da msubuqi qalaqi, rogoric tfilisia~,3 - werda konstantine paustovski. im droisTvis tfilisi TiTqos simSvidisa da ayvavebis kunZuli iyo omebisa da revoluciebis aboboqrebul zRvaSi. tfilisidan baTumis gavliT konstantinopols miaRwevdi, iqidan evropamde ki erTi xelis gaSla rCeboda. futurist poet igor terentievs, albaT, swored amanac STaagona Tavisi leqsis erTi striqoni – `maidnidan gza pirdapir evropaSi midis~ («Из Майдана дорога идёт прямо в Европу»). tfilisi mcire xniT aRmoCnda agresiuli omebiTa da revoluciebiT moculi samyaros mocemul drosa da sivrceSi yvelaze xelsayreli geografiuli erTeuli. Eepoqis konfliqturi suli aqac igrZnoboda, magram Tavad am qalaqis saerTo ganwyoba da xasiaTi, menSevikuri mTavrobis loialuri politika iZleoda saSualebas avangarduli novaciebis gamosavlenad… 1917-1921 wlebSi tfilisi aqtiuri SemoqmedebiTi cxovrebiT cxovrobs. am procesSi monawileoben qarTveli, rusi, somexi avtorebi. moskovisa da peterburgis mCqefare avangarduli atmosfero rusma mxatvrebma, poetebma da reJisorebma tfilisSi gadmoitanes. nayofieri niadagi qarTvel SemoqmedTa mier aq ukve Semzadebuli iyo. qarTveli sazogadoebisTvis ukve cnobili iyo marinetis `futuristuli manifesti~, romelic boris lopatinskim parizidan tfilisSi Camoitana, kargad icnobdnen agreTve pikasosa da brakis xelovnebas. tfilisSi, am patara oazisSi, Tanaarsebobda cisferyanwelebis simbolizmi da kruCionixis zaumuri ena; ilia zdaneviCis `всёчество~ da sergei gorodeckis akmeizmi; kubofuturizmi da kirile zdaneviCis `orkestruli ferwera~; genialuri firosmanis suraTebidan mzirali samoTxe dedamiwaze; gudiaSvilis modernuli ferweris individualizmi aRmosavluri elferiT, daviT kakabaZis racioze damyarebuli uaRresad evropuli da, amave dros, aseTi erovnuli grZnobiT gajerebuli Semoqmedeba. urTierTsawinaaRmdego movlenaTaA da SexedulebaTa es erToblioba ganapirobebda avangarduli tfilisis gansakuTrebiT sainteresosa da dinamikur atmosferos. `yvelaze moridebuli ukandaxeva kavkasiaSi~, - ase uwoda ruseTidan Tavis gaqcevas aleqsei kruCionixma, `zaumuri~ enisa da poeziis erT-erTma Teoretikosma. albaT, aRmosavluri romantikis xibliT Secvales yviTeli perangebi rusma futuristebma sparsuli abreSumis samosiT4. tfilisSi erTmaneTis miyolebiT imarTeboda gamofenebi, disputebs marTavdnen poeti `zaumnikebi~, artistul kafe `qimerionSi~ leqsebs kiTxulobdnen cisferyanwelebi, aleqsei kruCionixis, ilia zdaneviCisa da igor terentievis mier daarsebul futuristul universitet `футурвсёучбище~-s taverna `fantastikur duqanSi~ edo bina, romlis kedlebi moxatuli iyo kirile da ilia zdaneviCebis, lado gudiaSvilis, aleqsandre petrakovskisa da iuri degenis fantasmagoriebiT. rusuli avangardisa da kul3 Паустовский К. Повесть о жизни. Бросок на юг. М., 1968. 4 ServaSiZe n. dro, Tbilisi, kirile zdaneviCi. gamofena `kirile da ilia zdaneviCebi~. katalogi. Salva amiranaSvilis saxelobis xelovnebis muzeumi. Tb., 2009. gv. 44.

turis moRvaweebTan kavSiri iyo mWidro da SemoqmedebiTi. sergei sudeikini daviT kakabaZesa da lado gudiaSvilTan erTad freskebiT amkobda artistuli kafe `qimerionis~ kedlebs. voldemar bobermani da grigor Siltiani monawileobdnen tfilisSi gamarTul gamofenebSi. krebuli, romelic eZRvneboda msaxiobsa da futuristebis muza sofia melnikovas - «Фантастический кабачок». Тифлис. 1919, ilia zdaneviCis poema «Асёл напракат» natalia gonCarovam gaaforma. am uiSviaTesi krebulis erTi egzemplari Salva amiranaSvilis saxelobis xelovnebis muzeumSia daculi. 1916 wels sakuTar saxlSi Zmebma zdaneviCebma firosmanis pirveli gamofena moawyves. 1917 wels kirile zdaneviCis namuSevrebis gamofena gaimarTa, 1918 wels ki - lado gudiaSvilisa. es gamofenebi mkafio dasturi iyo imisa, rom qarTul saxviT xelovnebaSi axali era iwyeboda. amave wels Jurnal “ARS”-is redaqciaSi moewyo `moskovel futuristTa suraTebis gamofena~, romelzec eqsponirebuli iyo mxatvar-avangardistebis 145 suraTi. moskovel mxatvarTa namuSevrebis gverdiT qarTvel mxatvarTa suraTebic gamoifina: v. barti, d. burliuki, n. gonCarova, a. griSCenko, k. zdaneviCi, i. kliuni, a. kruCionixi, n. kulbini, m. larionovi, k. maleviCi, o. rozanova, v. tatlini, i. terentievi, p. filonovi, a. SevCenko, v. gudievi5. SeiZleba zogierTi maTgani axlac inaxeba tfilisis romelime kerZo koleqciaSi. somxuri warmoSobis tfiliseli poeti rifsime poRosiani ase igonebs àvangarduli tfilisis~ poetur bomonds : `poetebis cexi~, romelsac sergei gorodecki xelmZRvanelobda, golovinis prospeqtze, àrtisteriumis~ SenobaSi, iyo ganTavsebuli. aq oTxSabaTobiT, ZiriTadad, axalgazrda poetebi da literatorebi ikribebodnen da msjelobdnen `poeturi striqonis struqturis, zomisa da riTmis, asonansebisa da aliteraciebis, yvelafer imis Sesaxeb, rac poetur metyvelebas mReradobas aniWebs~.… poeturi oTxSabaTobebi tfilisis `poetebis cexSi~ Zalian xalxmravali iyo. 30-mde wevris garda, aq xSirad modiodnen qarTveli poetebic, umetesad, 1916 wels Seqmnili simbolisturi literaturuli gaerTianeba `cisferi yanwebis~ wevrebi. ai, àrtisteriumSi~ Semodis organizaciis erT-erTi wevri, cisferTvaleba tician tabiZe Savi, daxvewili pijakis saRileSi kaSkaSa wiTeli mixakiT. masTan erTad aris vaJkacuri paolo iaSvili mZime, nebisyofis gamomxatveli nikapiTa da sqel warbebs qvemodan didi, Savi Tvalebis gamWoli mzeriT. es ki moRuSuli da Cumi valerian gafrindaSvilia. cisferyanwelebi, literaturuli ordenis WeSmariti raindebi, TavianT fuZemdeblebad evropel simbolistebs _ bodlers, verharns, verlens, malarmes Tvlidnen. cisferyanwelebs `cexis~ atmosferoSi SemohqondaT miTiuri romantika, JReradi strofebiT umRerodnen nislian qalaq `sprutebs~. es urbanistuli xasiaTis leqsebi, romlebic eqod ismoda àrtisteriumis~ maRali kamarebis qveS, Cvens axalgazrda gonebas aRelvebda.… … òTxSabaTobebis~ sadResaswaulo ganwyobas xandaxan arRvevda futuristi poetebis jgufi. erTxel maTTan erTad movida aleqsei kruCionixi. futuristebs sakuTari Senoba hqondaT. TavianT Sexvedre5

Жур. “ARS”. №2/3. 1918. Тиф., с. 136.

bze isini ikribebodnen sardafSi, golovinskis prospeqtze. maTTan erTad iyo erTaderTi somexi futuristi poeti yara-darviSi grZeli, Savi TmiT, Savi, farTofarflebiani qudiTa da gafrialebuli labadiT. erTxel Cven, `normaluri~ poetebi, wavediT futuristebTan maTs morig Sekrebaze. saidumloebiT mocul naxevrad bnel sardafSi futuristebi kiTxulobdnen leqsebs `zaumur enaze~. am `poetur saRamoze~ gamodioda aleqsei kruCionixic. uzarmazari sardafis erTi bolodan ymuiliTa da daunawevrebeli metyvelebiT is uceb gamoeqana meore boloSi, sadac ijda filosofiis keTilgonieri doqtori xaraziani. miirbina ra profesoramde, kruCionixma mjiRi hkra mas mkerdSi, Semdeg gamovida darbazis SuaSi, gamomwvevi poza miiRo da Tqva, rom ai, axla man Seqmna leqsi `zaumur enaze~. yvelani gaognebulni viyaviT, yvelaze metad ki Tavad profesori. kruCionixs ki gaafTrebiT aplodirebdnen misi Tanamokalmeni…. … Cvens `oTxSabaTobebze~ iyvnen musikosebi, mxatvrebic da msaxiobebic. gansakuTrebiT mouxSires CvenTan siaruls mas mere, roca `artisteriumidan~ gadavediT bendickis musikaluri studiis SenobaSi, griboedovis quCaze. sami, arcTu didi, oTaxis kedlebi, sadac studia ganTavsda, moxatuli iyo kirile zdaneviCis mier futuristuli stiliT. kedlebidan gvimzerdnen iisfer-narisjisferi ciklopebi, uxelo,

zigmund (ziga) valiSevski. 18971936. poeziis saRamo. 1918 qaRaldi, fanqari, melani 36×22.5 Zygmunt (Ziga) Valishevski. 1897-1936. Poetry Evening. 1918. Pencil and ink on paper. 36×22.5

ufexo urCxulebi, romlebic meoce saukunis adamians gamoxatavdnen~. 6 1917 wels il. zdaneviCma, yara-darviSma, a. kruCionixma, n. Cerniavskim, l. gudiaSvilma, k. zdaneviCma `futuristuli sindikati~ daaarses. mogvianebiT, 1918 wels, mas gamoeyvnen al. kruCionixi, ig. terentievi da il. zdaneviCi, romlebmac Seqmnes `kompania 41°.~ aq ibeWdeboda mcire zomis wignebi zaumuri leqsebiTa da kubofuturistuli ilustraciebiT. es iyo al. kruCionixis mier jer kidev moskovsa da peterburgSi Seqmnili futuristuli wignis axali tipi _ xeliT naweri wigni (TviTweriT-самопись). striqonebi xSirad iwereboda heqtografis, ubralo fanqrisa da gadamyvanis an sabavSvo rezinis Stampis saSualebiT. liTografirebuli wignebi ibeWdeboda SedarebiT mcire tiraJiT, broSurebis 6 Погосян Риф. Старейший мастер «Цеха поэтов». жур. «Литературная Армения». № 13, 1964. Ер., с. 65-66.

zigmund (ziga) valiSevski 1897‑1936. Jurnal “ARS”-is garekanis eskizi. 1919 qaRaldi, tuSi. 35.3×22. Zygmunt Waliszewski 1897-1936 Sketch of cover of “Ars” magazine 1919. Indian ink on paper. 35.3×22

saxiT, ubralo qaRaldze (xan Zveli Spaleris naglejze, xan rveulis furcelze, xan ubralo, uxeS qaRaldze). `da mainc es aSkara epataJi faravda raRac ufro dids: moZvelebuli literaturuli da mxatvruli normebis kritikas, faseulobaTaA gadafasebas, axali esTetikis dabadebas, romelic winamorbedis

winaaRmdeg

yovelT-

vis Semtev moqmedebebs axorcielebs. poet-`budetlianelebis~ sityvaTqmnadoba, mxatvarTaA formadqmnadoba gamoxatavda

miswrafebas,

sityvisa

da xatisTvis daebrunebinaT aw ukve dakarguli pirvelyofili sisufTave da uSualoba, miesadagebinaT is adamianis Secvlil sulieri da emociuri gamocdilebisTvis~.7 gamomcemloba `41°~-Si, garda sofia melnikovasadmi miZRvnili krebulisa, romelSic CarTuli iyo ilia zdaneviCis dra ciklidan _ «Аслаабичья» «Асёл напракат», daibeWda misi kidev sami dra _ «Остраф Пасхи», «Янко круль албанский» da «Зга якобы», igor terentievis leqsebis krebulebi _ «Факт» da «Херувимы свистят», kritikuli monografiebi_«Рекорд нежности» da «А. Кручёных грандиозарь», Teoriuli naSromebi_«17 ерундовых орудий», «Трактат elene axvlediani, vera faRava, daviT kakabaZe, lado gudiaSvili. pP arizi. 1925. Elene Akgvlediani, Vera Paghava, David Kakabadze, Lado Gudiashvili. Paris. 1925

7 Ковтун Е. Русская футуристическая книга. М., 1989. с. 16.

о сплошном неприличии», aleqsei kruCionixis 40-mde wigni («Учитесь худоги», «Ожирение роз», «Малохолия в капоте...»…). gamomcemlobas ar hqonda sakuTari stamba. wignebi tfilisis sxvadasxva stambaSi ibeWdeboda. tfilisSi gamocemuli wignebi Zalian male gadaiqca bibliografiul iSviaTobad. garda nabeWdi da xelnaweri wignebisa, am dros gamodioda gazeTebi da sxvadasxva Jurnali: “ARS”, `feniqsi~, `kurantebi~, òrioni~, `xelovneba~, romlebSic ibeWdeboda werilebi àxal xelovnebaze~. `tipografiuli samuSaoebis umZimesi pirobebis, qaRaldis gansacvifrebeli siZvirisa da xelis SemSleli sxva pirobebis miuxedavad, qarTul enaze gamocemuli gazeTebis, Jurnalebisa (yovelkvireuli da yovelTviuri) da almanaxebis ricxvi ufro metad izrdeba … da Tan iseTi Tavbrudamxvevi siswrafiT, rom ubralo bibliografic ki, am simravliT gaognebuli, ver axerxebs maTs registracias~.8 tfilisSi cxovrebis duRilis temperatura marTlac aRwevda 41 graduss. msoflio kulturis dedaqalaqebSi - parizSi, miunxenSi, moskovSi, peterburgsa da kievSi A avangardul mimarTulebaTa monacvleoba kulturis TiTqmis yvela sferos moicavs – saxviT xelovnebas, Teatrs, poezias, kinos, musikas. am Sokismomgvreli kulturuli novaciis sazRvrebSi mkvidrdeba axali esTetikuri modelebi, axali masala. XX saukunis 10-20-ian wlebSi tfilisic aseT dedaqalaqad moiazreba. `tfilisuri avangardi 4 weliwadze met xans gagrZelda. adamianebs, romlebic am qalaqSi trialebdnen, xelovnebisa da inteleqtualurma intensivobam agrZnobina, rom tfilisi namdvili evropuli dedaqalaqi gaxda~9. tfilisi iRebda saukunis novaciebs, misi organuli Tanamoziare xdeboda da sakuTari wvlilic Sehqonda àxali xelovnebis~ SeqmnaSi. igi gascemda saukuneTa ganmavlobaSi adgilobriv niadagze ganviTarebul yofiTsa Tu kulturul tradiciebs. zogadad, qarTuli xelovnebisTvis damaxasiaTebeli zomierebis, ritmis, reprezentaciulobis grZnoba gasdevs àvangarduli tfilisis~ literaturulsa Tu mxatvrul Semoqmedebasac. qarTuli cnobierebisTvis ar iyo dilema samyaros mamoZravebeli Zalis Zieba. igi iRebs samyaros rogorc maradiuls, saxarebiseul faseulobebze damyarebul mocemulobas. is bunebasTan, samyarosTan harmoniaSia. amgvari damokidebuleba metad sagrZnobia genialuri firosmanisa da daviT kakabaZis SemoqmedebebSi. swored es sinTezuroba, futuristuli ngrevisa da, imavdroulad, samyaros erTianobis grZnoba qmnida erTgvari romantizmiT Seferili `tfilisuri avangardis~ zeimurobis atmosferos. ...magram davubrundeT muzeumisa da avangarduli xelovnebis koleqciis Seqmnis istorias. aT wleulebis manZilze muzeumi icvlida saxelebsa da adgilmdebareobas. ukve 1933 wels dimitri SevardnaZis didi Zalisxmevisa da Seupovari saqmianobis Sedegad muzeums gadaeca Sua saukuneebis 8 9

Л.М.Б. жур. “Братство”. №1. 1920. B. Kardeman. Kirill Zdanevich and Kubo-futurism . Tiflis. 1918-1920. Rachel Adler Gallery. New York. 1987.

samefo rezidencia (im xanad sapyrobiled gadakeTebuli) metexis taZris gverdiT.10 saxviTi xelovnebis muzeumi `metexi~ ganTavsda kldeze da zemodan dahyurebda tfiliss…. dro ki dgeboda saSiSi…. swored am gangaSiTa da SiSiT mocul 30-ian wlebSi muzeumma SeiZina voldemar bobermanis ferweruli da grafikuli namuSevrebis mTeli koleqcia da mxatvris avangarduli Semoqmedebis nimuSebis iSviaTi mflobeli gaxda. amave periodSi muzeumis fondebs Seemata tfilisSi gamocemuli futuristuli wignebis iSviaTi egzemplarebi. 1937 wels dimitri SevardnaZes, qarTuli samuzeumo saqmis fuZemdebelsa da gamorCeul sazogado moRvawes, metexis taZris dangrevis sawinaaRmdego aqtiuroba sicocxliT azRvevines. 1939 wels moskovSi, dasavleTevropuli axali xelovnebis muzeumis daxurvis Semdeg, koleqciebSi da culi avangarduli xelovnebis Sedevrebis nawili, rogorc socialisturi sazogadoebisTvis miuRebeli da formalisturi, ganadgurda, nawilis mudmivi mflobeli ki ruseTis provinciuli qalaqebisa da mokavSire respublikebis muzeumebi gaxda.11 metexis muzeumis fonds Seemata avangardis metris, abstraqtuli xelovnebis erT-erTi FfuZemdeblis, vasili kandinskis, ori ferweruli Sedevri: `suraTi wriT. pirveli usagno~ da `Savi Strixi~.

10 saqarTvelos cakis dadgenileba saqarTvelos erovnuli galereis fondebis metexis cixis yofil SenobaSi ganTavsebasTan dakavSirebiT gamoqveynda gazeT «Заря Востока»-Si. № 257. 6/XI. 1933. 11 dasavleT evropis axali xelovnebis muzeumi (Музей нового западного искусства) daarsda 1918 wels s. SCukinisa da i. morozovis kerZo koleqciebis nacionalizaciis Sedegad. 1928 wels koleqciebi gaerTianda dasavleT evropis axali xelovnebis saxelmwifo muzeumSi (kropotkinskis quCa # 21). 1948 wels muzeumi daiSala da koleqciebi gadaeca puSkinis saxelobis xelovnebis muzeumsa da ermitaJs.

kirile zdaneviCis gamofenis katalogi Catalogue of Kirill Zdanevichâ&#x20AC;&#x2122;s catalogue. Tiflis. 1917 kirile zdaneviCis gamofena didebis taZari. tfilisi. 1917 Kirill Zdanevich with friends at the personal exhibition. Temple of Glory. Tiflis. 1917

“Moscow became a meeting-place for the most revolutionary movements in Eouropean art. Thus Cubism from Paris, The “Kunstlervereirigung” of future “Blau Reiter” movement from Munich and the Futurism of Marinetti had an immediate impact on the Russian art”. Camilla Gray. “The Graet Experiment: Russian Art. 1863-1922”1

XX saukunis dasawyisSi rusuli xelovneba or poluss Soris viTardeba da XIX saukunis dasasrulisa da XX saukunis dasawyisis evropuli xelovnebis mxatvrul mimdinareobaTa Tavisebur kaleidoskopad gvevlineba. erT sivrceSi Tanaarseboben sruliad radikaluri mxatvruli mimdinareobebi, mxatvruli skolebi, saxelosnoebi da mxatvarTa gaerTianebebi. umetesobas Tavisi gamomcemloba aqvs da safuZvels Teoriuli programebiTa da manifestebiT imagrebs. moskovSi, peterburgsa da ruseTis imperiis sxva did qalaqebSi Tanamedrove rusuli xelovnebis paralelurad ewyoba franguli xelovnebis gamofenebi. xSiria frangi da rusi mxatvrebis komunikacia. am saqmianobas patronaJs uweven rusi mewarmeebi - sergei morozovi da ivane SCukini _ dasavluri modernistuli xelovnebis mxurvale moyvarulebi da koleqcionerebi, aseve Jurnali `oqros sawmisi~ _ frangi mxatvrebis gamofenis organizatori 1908-1910 wlebSi odesaSi vl. izdebskisa da v. kandinskis organizebiT imarTeba `izdebskis salonebi~, romelSic ukrainel da rus avangardistebTan erTad monawileoben frangi mxatvrebic.. am periodis TiTqmis yvela mxatvrul mimdinareobaze franguli da germanuli xelovnebis gavlena aSkarad gamoxatul saxes iRebs da, zogadadac, rusuli xelovneba Tavisi arsiT Ria sivrcea. igi umtkivneulod iTvisebs kulturul gavlenebs da xSirad adgilobrivi xalxuri xelovnebisa Tu Sua saukuneebis xatweris tradiciasTan sinTezSi originalursa da metad saintereso mxatvrul movlenebs warmoSobs. `peredviJnikuli~ xelovneba _ socialuri Tematikisa da xelovnebis xalxurobis apologeti XIX saukunis rusuli realisturi xelovnebis (romelic efuZneboda evropuli klasicizmis formalur struqturasa da Tanamedrove rusuli cxovrebidan, yoveldRiuri yofidan Tu istoriidan aRebuli Tematikis sinTezs) mier SemuSavebuli saxviT-kompoziciuri struqturisa da xelovnebis arsis mxatvruli gaazrebis CarCoebSi rCeba. Tumca, zogadad, impresionistuli xelovnebiT rusi mxatvrebis gatacebam garkveuli kvali maTs Semoqmedebazec datova. `peredviJnikuli~ xelovneba, miuxedavad am organizaciis wevrTa mravalricxovnebisa da sazogadoebis farTo nawilisaTvis misaRebobisa mocemul 1 `moskovi gaxda evropuli xelovnebis revoluciuri mimdinareobebis Sexvedris adgili, kubizmi parizidan, momavali `lurji mxedris~ moZraoba “Kunstlervereirigung” miunxenidan da marinetis futurizmi myisier zemoqmedebas axdenda rusul xelovnebaze~. C. Gray. The Graet Experiment: Russian Art 1863-1922. Thames and Hadson. New-York. 1962. p.81.

droSi, XX saukunis 10-20-ian wlebSi mainc kargavs poziciebs da, mxatvrul-ideuri TvalsazrisiT, dros CamorCenili, mkacri kritikis obieqti xdeba. Tumca, Tavis poziciebs odnav mogvianebiT, ukve 30-iani wlebis dasawyisSi, ibrunebs, erTxans Tanaarsebobs sabWoTa periodis `revoluciuri avangardis~ xelovnebasTan. Semdeg ki, aTwleulebis ganmavlobaSi, `peredviJnikuli~ xelovnebis mxatvrul-formaluri principebi ucvlelad da erTpirovnulad ikavebs sabWoTa mxatvruli skolis dominantis adgils. paralelurad viTardeba evropuli ar nuvos rusuli varianti - modernis stili da Tavisi poliqromuli mxatvrul-stilisturi teqsturiT rusuli vizualuri xelovnebis ganviTarebis istoriaSi erT-erT saintereso movlenad gvevlineba. `realurisa da fantastikuri zerealobis kavSiri, tilos an furclis sibrtyis organizebis ornamentul-ritmuli sistema, zedapiris dekoratiul-sibrtyobrivi damuSaveba rusuli modernis stilis ZiriTadi niSnebia, rasac mogvianebiT erwymis zRaprulobisa da folklorizmis sinTezi modernisTvis esoden damaxasiaTebeli antikuri stilis reminescenciebTan~2. kvlav viTardeba xalxuri xelovnebac, romelic mravali saukune warmarTuli kulturis, folklorisa da tradiciebis niadagze mZlavri nakadis saxiT arsebobda oficialuri xelovnebis paralelurad. XVIII saukunis meore naxevarSi petre I-is mier dawyebuli evropeizaciis procesi mudmiv WidilSia

ivane SiSkini. 1832-1998. gadarecxili napiri. tilo, zeTi. 53×33 Ivan Shishkin. 1832-1998. Crumbling Shore. Oil on canvas. 53×33 arxip kuinji. 1842-1910. xeebi. qaRaldi, zeTi. 18×11 Arkhip Kuinji. 1842-1910. Trees. Oil on paper. 18×11 vasil polenovi. 1844-1927. genisareTis tba. tilo, zeTi. 92×138 Vasil Polenov. 1844-1927. At the Genisaret Lake. Oil on canvas. 92×138

2. Сарабьянов Д. Русское и советское искусство. 1900-1930. М-П. 1981., с. 19.

rusuli xelovnebis am meore nakadTan. saukune-naxevris Semdgom xalxuri xelovnebis dauSreteli wyaro STagonebas miscems rusuli avangarduli xelovnebis Sedevrebs…. swored evropul mxatvrul mimdinareobaTa stilistikisa da adgilobrivi xalxuri xelovnebisTvis damaxasiaTebeli dekorativizmis, uxeSi, eqspresiuli formis, pirvelyofili energiisa da `balaganurobis~ sinTezi saSualebas aZlevs rusul xelovnebas, Tavi daaRwios evropuli xelovnebis provinciuli ganakveTis CarCoebs da ganapirobebs rusuli saxviTi xelovnebis originalobasa da TviTmyofadobas. sergei diagilevis rusuli baletis gastrolebi, romlis speqtaklebis scenografias `Мир искусства~sa da rusuli avangardis udidesi personebi asrulebdnen, kidev ufro aSkarad warmoaCens am ormxriv urTierTobebs. evropuli kulturis `scenaze~ rusuli xelovnebis es erTgvari dualizmi cxadad Canda. erTi mxriv, rafinirebuli, daxvewili forma da koloriti, klasikuri wonasworoba kompoziciaTa feradovan-plastikuri qsovilis Semadgenel calkeul elementTa Soris da, amasTanave, formaTaA pirvelyofili sidiade da ubraloeba, ferTaA boboqari Tavisufleba, grZnobaTa usazRvro eqspresiuloba da vneba. Sua saukuneebis xatwera, provinciuli xelovneba, xalxuri, yoveldRiuri yofis nivTebi, luboki, bavSvis xis saTamaSo, ukrainuli xalxuri skolis nimuSebi, tradiciuli ritualebi da adaT-wesebi mZlavri SemoqmedebiTi muxtis matarebeli memkvidreoba iyo, romelic STagonebas aZlevda rus avangardistebs. rus mxatvrebs ar dasWirvebiaT, evropeli mxatvrebis msgavsad, STagonebisTvis egzotikuri qveynebis xelovnebisTvis miemarTaT. Tumca, ruseTis ukidegano imperia, albaT, Tavad aerTianebda am egzotikur qveyanaTagan arcTu mcires…. `gaumarjos mSvenier aRmosavleTs! Cven verTiandebiT Tanamedrove aRmosavlel mxatvrebTan TanamSromlobisTvis! gaumarjos erovnulobas! Cven mivdivarT mRebavebTan erTad xelixelCakidebulni~, _ werda mixeil larionovi2. Tu rusuli modernis stilis xelovneba xalxuri xelovnebisTvis damaxasiaTebel mxatvrul formas xvewda da salonuri sazogadoebisTvis misaRebsa da gasageb saxes aZlevda, mis esTetizebas axdenda, rusuli avangarduli xelovneba am mxatvruli formebis specifikur niSnebs kidev ufro amwvavebda da xSirad groteskulobamdec ki mihyavda. rusuli modernis stilisadmi avangardis mxatvarTa dapirispirebis mTavari mizezi swored esTetizmiT gataceba iyo. primitivizmi, romelsac franguli fovizmis rusul variantad ganixilavs evgeni kovtuni3, rusul xelovnebaSi erTgvari gardamavali safexuria figuratiulsa da abstraqtul xelovnebaTa Soris. primitivizmisa da Semdgom suprematizmis xelovnebaTa ZiriTad safuZvels kazimir maleviCi rusul xatweraSi xedavs. `yvela Sexeduleba naturasa da peredviJnikebis naturalizmze ayiravebul iqna imiT, rom xatmwerebi, romlebmac teqnikis maRal ostatobas miaRwies, gadmocemdnen Sinaarss antianatomiuri 2 3

Ковтун Е. Русская футуристическая книга. М., 1989. с. 29. Ковтун Е. Малевич. Каталог выставки. Л.- М.- Амс., 1989. с. 153.

simarTliT da ara haerovani da xazovani perspeqtiviT. feri da forma maT mier Seqmnili iyo Temis emociuri aRqmiT. werdnen yvela im kanonis ugulebelyofiT, romlebic daafuZnes klasikosebma, gansakuTrebiT v. makovskisa da i. repinis akademiam. me CemTvis naTlad warmovidgine mTeli xazi xatweris didi xelovnebidan moxatuli kedlebis cxenebsa da mamlebamde, sarTav dazgebamde, kostiumebamde _ rogorc glexuri (xalxuri) xelovnebis xazi~.4 larionovis primitivizmisTvis fasdaudebeli mniSvneloba hqonda genialuri firosmanis Semoqmedebasac, romelic mas mixeil le-dantium da Zmebma zdaneviCebma gaacnes. misi xuTi namuSevari gamofenili iyo moskovSi «Мишень»-isa gamofenaze. Tumca, aqve unda aRiniSnos, rom es gavlena firosmanis Semoqmedebis mxolod formalur mxares exeba. samyaros firosmaniseuli aRqma, misi formismieri Tu azrobrivi monumenturoba da mniSvnelovneba, sidiadisa da simartivis erTdrouli SegrZneba, sasuraTe realobis drosa da sivrceSi ganviTarebis specifika, misi siCume da sidiade _ firosmanis `kosmosi~ _ larionovis primitivizmisTvis arc iyo aqtualuri. firosmanis xelovnebis arsi ki yvelaze zustad swored mixeil le-dantium gansazRvra, rodesac igi `primitivist~ jotos Seadara…. Tumca ki, rusi mxatvrebi impresionizmiT, postimpresionizmiTa da fovizmiT Zlieri gatacebis Semdeg uaryofdnen TavianT Semoqmedebaze dasavluri xelovnebis gavlenas, magram bunebrivi da aSkaraa, rom ganaxlebis qari swored evropidan uberavda. natalia gonCarova werda: `Cem mier ganvlilia yvelaferi, rac dasavleTs SeeZlo moeca dRevandel dRemde, agreTve yvelaferi is, rac dasavleTis gavliT Seqmna Cemma samSoblom. axla me Cemi fexebidan ferfls viferTxav da vSordebi dasavleTs. vTvli mis nivelirebul mniSvnelobas savsebiT wvrilmanad da umniSvnelod. Cemi gza yvela xelovnebis pirvelwyarosken-aRmosavleTiskenaa. Cemi qveynis xelovneba Seudareblad Rrmaa da mniSvnelovani, vidre yvelaferi is, rac me dasavleTSi vici~5. XX saukunis pirveli aTwleulis evropis modernistuli kulturis dedaqalaqebis_parizis, romis, miunxenis aqtiuri da zogjer agresiuli mxatvruli cxovrebis ritmi moskovisa da peterburgis axal, socialur-ekonomikursa da kulturul relsebze Semdgar sazogadoebasac aryevda. moskovis quCebSi daseirnobdnen kaSkaSaA feris qurTukebSi gamowyobili `momavlis xelovnebis~ Semqmnelebi da apologetebi saRileSi garWobili bolokiT an CangliT, yurSi sayuriTa da geometriuli figurebiT moxatuli saxeebiT. amiT isini `mir iskustnikebis~ daxvewilobas dascinodnen da, amasTanave, sakuTari personisa da xelovnebaze axleburi Sexedulebebis prezentaciasac axdendnen, ara marto moskovsa da peterburgSi, aramed ruseTis imperiis sxva qalaqebSic. 1914 wels `ucnauri xalxi~ TbilisSic gamoCnda. 27 martis gazeTi werda: `samSabaTs golovinis prospeqtze usaqmurTa brbos TanxlebiT ucnaurad gamowyobili sami subieqti gamoCnda. erT batons ecva yviTe4 5

«Отрывки из «Глав из автобиографии художника (1933)». Малевич. Каталог выставки. Л.- М.- Амс., 1989. с. 111. Ковтун Е. Русская футуристическая книга. М., 1989. с. 32.

li kofTa, meores Tavs umSvenebda raRacnairi Tavsaburi, mesames fizionomia hqonda SeRebili. cirki Camovida, _ ambobdnen xalxSi. klounebi xalxSi dadian reklamisTvis~6. xalxma, raRa Tqma unda, ar icoda, rom ucnaurad Cacmuli xalxi futuristebi iyvnen. Tbilisis sazogadoeba maSin sakmaod gulgrilad Sexvda futuristul epataJs. futurizmi, momavlis xelovneba, romelic italiaSi tomazo marinetim iqadaga,7 Semdegi mZlavri muxti aRmoCnda rusuli avangarduli xelovnebis ganviTarebisTvis. `futurizmis pirveli manifestis~8 rusuli Targmani 1909 wlis 8 marts daibeWda peterburgis gazeT `Вечер~-Si. rac ufro uaxlovdeboda rusuli xelovneba evropuls, miT ufro aSkarad Canda rusi mxatvrebisa da poetebis survili, xazi gaesvaT nacionaluri rusuli xelovnebis mniSvnelobisTvis. aqedan gamomdinare, kanonzomierad unda CaiTvalos rusi futuristebis sakmaod mtruli damokidebuleba marinetisadmi. TavianT Tavs rusma futuristebma Tavdapirvelad `budetlianelebi~ uwodes. isini TiTqos faravdnen italiuri futurizmis sruliad bunebriv gavlenas maTs xelovnebaze9. rusi futuristebi Seecadnen, SeeqmnaT futurizmis rusuli varianti da erTmaneTs daukavSires kubizmis, futurizmisa da primitivizmis elementebi. rusul kubofuturizmsa da italiur futurizms Soris principuli gansxvaveba swored am ukanasknelTan damokidebulebiT gamoixateboda. Tu rusi mxatvrebi cdilobdnen, xSirad daufaravi miniSnebiT, xazi gaesvaT primitiuli, xalxuri xelovnebis mniSvnelobisaTvis, italieli mxatvrebi acxadebdnen, rom `maTi primitivizmi aris awewilobisa da areul-dareulobis ukiduresi kritikuli wertili, maSin, roca warsulis primitivistebi ybedoben simartivis Sesaxeb~. 10 futuristuli poeziisa da ferweris Camoyalibebasa da ganviTarebas Tan sdevda axali era rusuli wignis grafikis xelovnebaSi. 1912 wlidan moskovsa da peterburgSi daiwyo futuristuli krebulebis gamoSveba, romlebsac aformebdnen rusuli avangardis niWieri da ukve aRiarebuli mxatvrebi: mixeil larionovi, natalia gonCarova, kazimir maleviCi, pavle filonovi, olga rozanova…. rusuli wignis grafikas am periodisTvis ukve didi tradicia gaaCnda (`Мир искусства~-s grafikosTa gaxsenebac kmara), magram rusma futuristebma mTlianad Secvales wignis ilustraciis adre arsebuli, ukve Camoyalibebuli, principebi. axleburi iyo maTi midgoma literaturuli pirvelwyarosadmi. wignis gaformebis aseTi radikaluri Secvla mniSvnelovanwilad ganapiroba TviTon zaumuri enis, poeziis Taviseburebam. zaumuri leqsi agebuli iyo sityvaTa TamaSze da xSirad sityvas ar hqonda azri 6 Шахназарова А., Ляшенко М. «Футуристы в Тифлисе». газ. «Головинский прспект». № 6. 2006. с.11. werilSi moxsenebuli futuristebi arian d. burliuki, vl. maiakovski da v. kamenski. 7 italieli poetis _ filipo tomazo marinetis saprogramo naSromi `futurizmis pirveli manifesti~ 1909 wlis 20 Tebervals gazeT `Le Figaro~- Si daibeWda. 8 Тастевен Г. Футуризи. М., 1914. 9 Compton S.P. Italian Futurism and Russia. Art Journal. Winter. 1982. p. 343-348. 10 iqve.

(anu realurad arsebuli sagnobrivi ekvivalenti). udavoa, rom TviT poetebi da mxatvrebi, romlebic ibrZodnen am axali enis, axali literaturis, axali xelovnebis Sesaqmnelad, ar iyvnen darwmunebulni, rom isini Secvlidnen salaparako enasa Tu azrovnebas. amitom am Ziebis, eqsperimentebis safuZvelSi Zevs sityviTa da formebiT TamaSis, improvizaciis elementi, rodesac bolomde gauazrebelia Sedegis mniSvneloba. yovelive es iZleoda gamosaxulebiT Tavisufali interpretaciis saSualebas. futuristuli wignis grafikac gamoirCeva gansakuTrebuli simsubuqiTa da skandaluri ubraloebiTac. futuristi mxatvrebi did mniSvnelobas aniWebdnen ara marto naxats, aramed Sriftsac. v. xlebnikovi da al. kruCionixi werdnen, rom xelwera Taviseburad icvleba ganwyobilebiT da mas sityvisagan damoukideblad gadascems mkiTxvels. futuristebs miaCniaT, rom stambur anawyobSi, sadac yvela aso swor xazze iwereba, striqonebi erTferovani da mosawyenia. amitom isini xSirad erTsa da imave krebulSi sxvadasxva Srifts iyeneben. kruCionixi werda: `fermwer budetlianelebs uyvarT sxeulis nawilebis gamoyeneba, budetlianel sityvismqnelebs ki _ daCexili sityvebis, naxevarsityvebisa da misi ucnauri, eSmakuri SeTanxmebebisa (zaumuri ena). amiT miiRweva umetesi gamomsaxveloba da swored amiT gamoirCeva gamalebuli Tanamedroveobis ena, romelmac wina, gaqvavebuli ena gaanadgura~11. XX saukunis 10-ian wlebSi kubofuturizmi safuZvels udebs axali stilebisa da mimdinareobebis ganviTarebas. kubofuturizmidan iSva larionovis `luCizmi~, filonovis `analitikuri xelovneba~, maleviCisa da tatlinis `usagno xelovneba~. evropul avangardTan organul kavSirSi yalibdeba vasili kandinskis Semoqmedeba. 1900-ian wlebSi misi xelovneba farTo sivrcea, sadac erTmaneTs gadakveTs da urTierTqmedebs sruliad gansxvavebuli mimdinareobebisa da mimarTulebebis stiluri maxasiaTeblebi. germanuli `Jugendstil~-isTvis damaxasiaTebeli xazisa da feradovani laqis gamomsaxveloba, sasuraTe zedapiris ornamentuli wyoba, franguli fovizmis feris dekoratiuloba da germanuli eqspresionizmis saxviTi xerxebis daZabuli emociuroba Sua saukuneebis rusul xatwerasa da folklorul xelovnebasTan sinTezurad warmoSobs kandinskis ganumeorebel mxatvrul samyaros. kandinski mimarTavda sagnebisa da movlenebis siRrmiseuli Sreebis analizs da Tavisi xelovnebis mizans `realobisa da misi yvela gamovlinebis say11 Кручёных А. Малохолия в капоте. 2-ое доп. издание. Тиф., 1919.

mTavarangelozi gabrieli. XVI s. ruseTi. xe, tempera. 98×33 Archangel Gabriel. XVI c. Russia. Tempera on wood. 98×33

ovelTao sulierebaSi~12 xedavda. samyaros vizualuri xatis gamosaxvis nacvlad, man Tavisi yuradReba mimarTa saxviTi xelovnebis xerxebis saSualebiT `adamianis emociuri mdgomareobis gamovlenisken. igi cdilobda, adamianis Sinagan samyaroSi, mis subieqtur gancdebSi epova raRac obieqturi kanonzomierebani ferweruli kompoziciis asagebad~13. adamianis sulis am rxevebs gadmoscems kandinskis abstraqciebi. 1911 wels Sesrulebuli ferweruli namuSevari `suraTi wriT. pirveli usagno~ mxatvris abstraqtuli kompoziciaa, romelSic cnobadi samyaros elementaruli miniSnebac ki qreba. rusuli avangardis zogadi maxasiaTeblebisagan gansxvavebiT, kandinskis xelovneba metad daxvewili, artistuli da WvretiTia. mis xelovnebaSi Tavs iCens mxatvris gataceba sinesTeziis koncefciiT, romelic xelovnebis sxvadasxva dargis (poezia, ferwera, musika) erT mTlian mxatvrul nawarmoebad gaerTianebas gulisxmobs da SegrZnebis sxvadasxva organoze zemoqmedebs. aqedan gamomdinarea kandinskis abstraqtul kompoziciebSi miRweuli feradovan SeTanxmebaTaA musikaloba da ritmi. mis ferwerul enaSi ganmsazRvreli funqcia ekisreba feris laqis TavisTavad gamomsaxvelobas, SeTanxmebaTa emociurobas da ara feradovani kompoziciis geometrizebis tendencias. mesianuri suliT gaJRenTili, cxovelmyofeli, novatoruli, xmauriani da epataJuri rusuli avangardi eZebda da poulobda axal gzebsa da saSualebebs samyaroze sakuTari warmodgenebis saxviTi xerxebiT asametyveleblad. isini angrevdnen stereotipebs, qmnidnen maTTvis misaReb realobas, gamoTqvamdnen urTierTsawinaaRmdego debulebebs, Teoriul manifestebSi xazs usvamdnen TavianTi xelovnebis filosofiur sawyisebs da cdilobdnen, aexsnaT yofierebis saidumlo…. oqtombris revoluciis Semdeg avangardizmi, revoluciuri novatorobis ideiT aRtacebuli, axali sazogadoebis SeqmnaSi monawileobda. revoluciuri ganaxlebis, Tavisuflebisa da adamianTa Tanasworobis ideiT aRfrTovanebuli avangardisti mxatvrebi gansakuTrebiT aqtiurad monawileobdnen masobrivi saxalxo dResaswaulebisa da manifestaciebis mxatvrul gaformebaSi, magram sul male avangarduli xelovneba, romelic revolucias Sexvda, rogorc ganaxlebisa da Tavisuflebis stiqiur Zalas, qveynis ideologiur mtrad gamocxadda. avangardi qmnida miTs axali cxovrebis, axali realobis Sesaxeb. sayovelTao ganaxlebis ideiT Sepyrobilni eZebdnen am ideis gamomxatveli `sufTa~ formis mqone mxatvrul saxes. socrealizmma ki Seqmna axali, bednieri realobis miTi, romelic realuris paralelurad virtualurad mxolod maTs ideologiaSi arsebobda. revoluciuri ganaxlebis JiniT Sepyrobili avangardi Caanacvla ukve `ganaxlebuliT~ aRtacebis sayovelTao sixarulma, gamarjvebis paTosma. 1920-ian wlebSi mTel sabWoTa ka12 Сарабьянов Д. О Кандинском. Василий Васильевич Кандинский. Каталог выставки. Л., 1989. с. 40. 13 Хаг-Магомедов С. В.В. Кандинский в секции монументального искусства ИНХУКА (1920). Василий Васильевич Кандинский. Каталог выставки. Л., 1989. с. 47. mixeil larionovi, natalia gonCarova, ilia zdaneviCi Mikhil Larionov, Natalia Goncharova, Ilia Zdanevich

`samuzeumo koleqciebi warmoadgens umniSvnelovanes saerTo-sazogadoebriv memkvidreobas, gaaCnia gansakuTrebuli samarTlebrivi statusi da daculia saerTaSoriso kanonebiT. saxelmwifos mizania, gonivruli marTviT uzrunvelyos sakuTrebis kanoniereba, mudmivoba, dokumentireba, misawvdomoba da gankargvaze pasuxismgebloba~. ICOM - muzeumebis saerTaSoriso sabWos samuzeumo eTikis kodeqsi. Tavi 2. ZiriTadi debuleba

1952 wels xelovnebis muzeums gadaeca mewarmisa da mecenatis, iakob zubalaSvilis, neoklasicisturi stilis Senoba, romelic XIX saukunis dasawyisSi italielma arqiteqtorma juzepe bernardaCim aago. TiTqmis 30 weli muzeums xelmZRvanelobda Salva amiranaSvili (1889-1968), brwyinvale mecnieri, qarTuli xelovnebaTmcodneobis erT-erTi fuZemdebeli, Sua saukuneebis xelovnebisa da kulturis mkvlevari, evropuli da rusuli xelovnebis SesaniSnavi mcodne. igi ganagrZobda dimitri SevardnaZis mier dawyebul saqmes da samuzeumo sacavebs mTel sabWoTa kavSirSi SeZenili namuSevrebiT amdidrebda. 1954 wels saxviTi xelovnebis ganyofileba daiSala da Seiqmna qarTuli, dasavleTevropuli da rusuli xelovnebis ganyofilebebi. am ukanasknels saTaveSi Caudga dimitri gordeevi (1889-1968), xelovnebis istorikosi da arqeologi. 1910-ian wlebSi igi aqtiurad monawileobda `Tfilisur avangardSi~ da iyo futurist `zaumnikebis~ dajgufeba `41Â°~-is wevri. bunebrivia, gordeevisTvis gansakuTrebiT faseuli da axlobeli iyo rusuli avangardi. 30-40ian wlebSi samuzeumo fondebi Seivso mixeil larionovis, natalia gonCarovas, kazimir maleviCis, olga rozanovas, aleqsandre volkovis grafikuli namuSevrebiT. 2013 wels muzeumis rusuli xelovnebis ganyofilebis grafikis fondis reinventarizaciis Sedegad dimitri gordeevis arqivSi aRmoCnda saqaRalde akvareliT Sesrulebuli kubofuturistuli grafikuli furclebiTa da Jurnal `ARS~-is sareklamo afiSiT. sabWoTa respublikebis xelovnebis 1978 wels Seqmnili ganyofilebis fondebi sxvadasxva wyarodan ivseboda rusuli avangardis ferweruli da grafikuli nimuSebiT. didi wvlili am koleqciis SeqmnaSi Seitana ganyofilebis maSindelma gamge lia dolaberiZem (1928-2005), romelic TiTqmis mTel sabWoTa kavSirSi agrovebda eqsponatebs ganyofilebis fondebisTvis. mxatvrebsa da maTs memkvidreebTan uSualo kavSirebi mas saSualebas aZlevda, SeeZina ara mxolod erTeuli eqsponatebi, aramed mTeli koleqcia. amiranaSvilis saxelobis xelovnebis muzeumSi daculi robert falkisa da aleqsandre SevCenkos ferweruli da grafikuli namuSevrebi saSualebas gvaZleven, Tvali gavadevnoT am SesaniSnavi mxatvrebis Semoqmedebis ganviTarebis gzas. gansakuTrebuli mravalferovnebiT gamoirCeva robert falkis su-

raTebis koleqcia, romelic moskovSi SeZenil iqna mxatvris qvriv a. SCekin-krotovasagan. sabWoTa kavSiris SemadgenlobaSi saqarTvelos arsebobis ganmavlobaSi pirvelad 1989 wels daeTmo muzeumis sagamofeno sivrce avangarduli xelovnebis gamofenas. ilia zdaneviCis qvrivTan, qalbaton elen diuarTan, TanamSromlobiT Sedga kirile da ilia zdaneviCebis gamofena (kuratorebi: irine Zucova, nona xaratiSvili). xelovnebis muzeumsa da kerZo koleqciebSi daculi uiSviaTesi artefaqtebis erT sivrceSi ganTavsebiT gacocxlda `tfilisuri avangardis~ cxovelmyofeli da sruli suraTi. 2009 wels saqarTveloSi safrangeTis saelCosa da `iliazdis klubis~ TanamSromlobiT gaimarTa gamofena `Zmebi kirile da ilia zdaneviCebi~ (kuratori nana ServaSiZe). muzeumi axlac aqtiur sagamofeno politikas atarebs saqarTvelosa da mis sazRvrebs gareT. avangarduli xelovnebis nimuSebi eqsponirebuli iyo parizSi, niu-iorkSi, briuselSiâ&#x20AC;Ś. avangardi mudam Tanamedrovea. revoluciuri ltolva ganaxlebisken, cxovrebis radikaluri cvlilebisken dResac aRelvebs kacobriobas. amitomaa avangarduli xelovneba yovelTvis aqtualuri, yovelTvis sasurveli. gamofena AVANT-GARDE / avangardi pirveli cdaa, sazogadoebis winaSe srulyofilad warmovadginoT muzeumis fondebSi daculi avangarduli xelovnebis nimuSebi. amavdroulad, esaa survili, kidev erTxel gamovxatoT pativiscema da mowiweba im adamianTa mimarT, romelTa enTuziazmma, dauRalavma Sromam da Tavganwirvam Seqmna Salva amiranaSvilis saxelobis xelovnebis muzeumis avangarduli xelovnebis koleqcia. nana ServaSiZe

Павлиный хвост, павлиный хвост, Раскройся шире надо мной! Павлиный хвост, павлиный хвост, Ты символ радости земной!… …Соедините ваши чувства, Дружнее гряньте вещий тост! Цвети, красуйся, щит искусства, Павлиный хвост, павлиный хвост. Сергей Городецкий. «Павлиный марш» tfilisis taverna `farSevangis kudis~ himni

kirile zdaneviCi. 1894-1975. farSevangi. 1910-iani wlebi. qaRaldi, Ser. teq. 21.7×31.7 Kirill Zdanevich. 1894-1975. Peacock. 1910s. Mixed media on paper. 21.7×31.7

tfilisis Teatri-studia `argonavtebis navis~ kedlis moxatulobis fragmenti. 1990-iani wlebis foto The fragment of mural painting of Tiflis theatre –studio “The Argonauts Boat”. Photo of 1990s

“Avant-garde - a result of searches of the irreconcilable intellectuals dreaming of freedom, activity of group of people creating certain objects, autwardly at times reminding pictures and statues. They also create various texts; dare to do the paradoxical gestures bearing the coded information, with the syntax and semantics, the key to the code number from which does not exist”. Turchin V. “Through the labyrinths of avant-garde”1

The avant-garde is the initial stage of modernistic art and means “revolutionary” changes in art of the first decade of the XX c. Its development had been caused by ideological changes on the background of industrial and technological undertakings, also by especial anthropological activities. Crisis in political, economic and cultural sphere formed the nihilistic relation to the values developed in a current of centuries. The progressive, intellectual society aspired to general updating and radical changes of public and social hierarchy promoted the followers of avant-garde to confrontation to traditional forms of art. Air was impregnated with the revolutionary ideas. It was time when in art - It was possible to feel the history pulse by the time of changes”.2 Avant-gardism, as a new branch on the way of cultural evolution, is the time of origin of searches in the development of art, the courageous innovations hitherto unknown and unimaginable art systems and theories. The idea is a new cognition of the universe by a person in the time of achievements of “mashinism” and technocracies. Avant-garde art and ideology is focused on the extremely subjective art thinking of the artist. He creates his own realism, may be absolutely absurd by that, that he denies all laws and hierarchies. The aesthetic schemes, established in a current of time, are changed by absolutely new visual and verbal systems. The system of new art codes, which is created for expression of these new realities and ideology, is formed. The purpose of creative process of avant-garde art, its inimitable commencement had been focused on creation of such idea and from, which is characteristic only for art and would have nothing in common with the nature. Renato Poggioli marks out three basic signs of avant-garde essence: activism (love to activity, dynamism and constant desire to go forwards, antagonism (opposition to a historical and art order, and traditionalism), nihilism (destructiveness and infantilism).3These signs more or less and in different interpretation are shown in the sphere of development of avant-garde culture. It came over all western civilization; besides all used traditions of the most ancient cultures. Interference of multina1 Турчин по лабиринтам авангарда. М., 1998. с.4. 2 Ivanon’s this quotation is taken from the book: Боулт Д. Художники русского авангарда. М.,1990. с.90. 3 R. Poggioli. The Theory of Avant-garde. Harvard. 1962

tional cultures means the development of absolutely different traditions: the Japanese painting, the African sculpture, the Russian and Ukrainian folklore art, medieval iconography. Different national and regional traditions give special sonority to every cultural event. The cultural avant-garde is characterized by a variety of artistic tendency, group of artists and individuals, formal and conceptual systems. New art, often not clear and scandalous for the considerable part of public, demanded from the spectator intuition or the verbal consent between the spectator and the author. Manifestos of different tendencies and text interpretations compelled the spectator to be the participator of this new art epoch. Avant-garde art was against any narration and literature. Besides, except visual result, it operated with program manifestos, treatises and theories with which it introduces the new law of the art. The new language of plastics, new metaphors, words, punctuation marks and the system of neologisms enters into the fine arts, literature, poetry and choreography. In all spheres of culture there was a search of essentially new expressive means. The absurdity and shocking behavior - are the realities, accompanying these searchesâ&#x20AC;Ś

“I am afraid of nothing because I am not guilty” From the report of questioning of Dimitry Shevardnadze Blindly

I saw a bullet It was quietly stealing up to a kiss.

A. Kruchyonikh. “War”. On Dimitry Shevardnadze’s initiative (1885-1937), in 1920, in Tiflis, the Constituent council of the society of Georgian artists, on the basis of their decree, founded the National Gallery of Georgia, which then formed the basis to creation Shalva Amiranashvili Art Museum. Much earlier, enthusiasts of museum business - Dmitri Shevardnadze, Shalva Amiranashvili, Eqvtime Takaishvili, Irodion Songhulashvili and George Bochoridze started to seek after and collect across all Georgia samples of art-exhibits of the future museum. The first director of the National Gallery Dimitry Shevardnadze - the artist and the public figure, the erudite, who devoted all his life to expansion and enrichment of the museum collection, dreamt to found in Georgia a museum of the Hermitage an the Louvre level. He defined the gallery concept as a museum of wide spectrum which covers old and new art of the East and of the West. From the first years of the existence of the gallery (later on- the museum) , masterpieces of Persian, Chinese, European and Russian art, unique monuments of Georgian medieval art, works of Pirosmani and other Georgian artists of that time had been purchased for its funds. Remarkable works of the European painting - Paolo Veneciano, Bernadro Daddi, Lukas Cranach, Jacob Ruisdael, the Persian portraits of Qajar period, had been got from private collections and other organizations. Together with collecting and popularization of old samples of art, creation of the gallery of new art was the purpose of Dimitri Shevardnadze and the administrative council of artists. In the end of the 10th of the XX c. for replenishment of funds of the museum the attention was directed on acquisition of works of different artistic tendencies of modern art. Shevardnadze, in his youth, was keen on German and French art, understood the most radical artistic tendencies of modern art, was interested in creativity of local and temporarily arrived to Tiflis artists, whose creativity was characterized by search of new art forms and ways of expression. In 1928 the board of the union of artists in the report, presented to the government, underlined the necessity of creation of modern gallery of arts. “… Gallery is both - the printing agency and the scene, where all new values which are given by the modern art to the Georgian painting, should be gathered. We have not such a gallery… It will be very important cultural establishment, where, during a very short time, the Georgian public will see, that the Georgian painting is not so poor, as many think, and has great and very reliable future, besides, in this modern gallery exemplary exhibits of modern Russia and

other states will be collected as far as possible, that Georgians could understand what’s happening in this branch outside of Georgia”.1 By the end of 1920s in the museum collection had already been collected enough quantity samples of modern art. Works of the Georgian and not Georgian artists living in Tiflis, had been purchased for national gallery with the assistance of the government of Georgian republic basically from the spring and autumn exhibitions, arranged in 1919. In the report of 1919 of the society of Georgian artists we read: “The society arranged three exhibitions: one - exhibition of ancient mural painting in the beginning of 1917, and two - in 1919: in May - works of the present Georgian artists and in December - works of artists of other nationalities living in the territory of Georgia. The Society opened the exhibition on May, 4th 1819. It was the first exhibition of present Georgian artists. The pictures were exposed by the artists of different artistic tendencies. Sculpture was exposed there also. Due to this exhibition, art abilities of our country were approximately revealed. The third exhibition opened on December, 12th 1919. Our society in the “Temple of Glory” now has collected pictures and sculpture of artists of different nationalities, living in Georgia”.2 In 1921, after the establishment of the Soviet system in Georgia, the Soviet dictatorship was established. In the second half of the 10s the revolutionary searches of Georgian artists and those, who were gathered in Georgia from different corners of Russian empire, were carried out by political and social revolution and soon changed their artistic and aesthetic ideals. The worthy people of the country became victims of the time and ideology… The time was violent, heavy, dynamical and unstable. The response of “Tiflis” avant-garde was still felt…

1 2

abesaZe i., bagratiSvili q., dimitri SevardnaZe. Tb., 1998. gv.108. Shalva Amiranashvili Museum of Arts. Memoirs fund of manuscripts information collection. Fund 1 (society of Georgian artists. Extract 1. File 8. page 1)

“Old Tbilisi seemed to me a city from “Thousand and one night”. We wandered on never-ending Maidan; turquoise in pitch and hot flat cakes, English jackets and daggers, hookahs and record players, odorous grass and rifles, portraits of king Tamar and dollars were sold there”.1 Ilia Erenburg. “People, years, lives”. “The country indeed was falling and only Tiflis was a single city which met this “destruction” with a poetic song.” G. Robakidze. “Falestra”.

Tiflis of 10-20s of the last century was distinguished with special attractiveness and originality. This quite large administrative and financial centre at the crossroads of the West and the East, with its original architectural exterior and the way of life, combined Asian exoticism and European modernism. Multinational and multicultural appearance of Tiflis defined the lifestyle and special tint of the city landscape. Let’s imagine for a minute “hung” over the rocky bunk of the river Mtkvari and narrow small streets the wooden laces and loggias of houses, voice and variety of color of populous Maidan, people speaking different languages, the workshops of rare carpets and copper ware built abreast, also trading counters, the aestheticism of fish and fruit stalls, the charm of which did not concede to the Dutch still - life’s, a number of mills floating on the river Mtkvari, houses of German colonies and Sololaky apartment houses of “Tiflis modernit style”. Let’s add to it Christian churches, mosques and synagogues, standing nearby with each other, eastern “motley baths” and painted by avant-garde artists clubs - wine cellars, where poet-futurists read their poesy (poetry). Just a stone’s throws away from there, traditional, semi gloomy wine cellars were decorated by the picturesque masterpieces of Pirosmani, who was “discovered” by brothers Zdanevich and Michael le-Dantju. Simultaneously, sounds of eastern music, voice of zurna (shawn), morning saari flew from Ortachala gardens, the European dancing music was heard, and at the state theatre the Italian opera was sung… And you, probably, feel irreality of Tiflis life… “Sometimes in the city, as if unexpectedly, appeared slowly moving caravan of camels. Then Tiflis got appearance of a blossoming and hospitable Arabian night city”.2This West and East mix, which had been grown on strong local roots, made impression of theatricality and lightness. There the life as though was spent playfully… Russian futurists, artists and poets, having escaped from Russia enveloped in flames of Revolution, for a while found refuge in Tiflis. 1 Эрeнбург И. “Люди, годы, жизни”, М., 2005. 2 B. Kardeman. Kirill Zdanevich and Kubo-futurism. Tbilisi. 1918-20. Rachel Adler Gallery. New York. 1987.

In 1918-1920 the populous colony of Russians lived near Maidan. “Light and icy radiance of air made the first impression for me about Tiflis, as about certain east Florence… I have never seen such a curve, motley and light town as Tiflis“3 Konstantin Paustovsky wrote. By then Tiflis was as though an island of calmness and prosperity in the rough ocean of wars and revolutions. From Tiflis it was possible to reach Constantinople through Batumi and it’s just a stone’s throw from there. Probably this situation inspired poet futurist Igor Terentjev to write one line of his verse - “From the Maidan road goes directly to Europe”. Tiflis for a while appeared the most convenient geographical unit in the world, surrounded with aggressive wars and revolutions at the right time and in the right place. The contentious spirit of the epoch was felt there too, but general mood and character of the city, the loyal policy of the Menshevik government gave the chance to demonstrate the avant-garde innovations… In 1917-1921 Tiflis lives an active creative life. Georgian, Russian and Armenian artists, poets and producers took the impetuous avant-garde atmosphere of Moscow and Petersburg to Tiflis. The breeding ground for that had already been prepared by Georgian creative artists. “The Futuristic Manifesto” Marinetti, which had been brought from Paris by Boris Lopatinsky was already familiar for the Georgian society; they knew well also Picasso and Braque. In Tiflis, in this small oasis, co-existed symbolism of “tsisperkantselebi” (Blue Hornes) and abstruse language of Kruchyonikh; “vsiochestvo” of Ilia Zdanevich and Sergei Gorodetsky’s acmeism; cubo-futurism and “orchestral painting” of Kirill Zdanevich, “Paradise”, looking from Pirosmani’s pictures, individualism of modern painting with the oriental tint by Gudiashvili, based on the philosophical system, absolutely European, and, at the same time, impregnated with rather national feeling, Kakabadze’s creativity. The unity of the opposite phenomena and opinion defined exclusively interesting and dynamical atmosphere of Tiflis avant-garde. “The most respectful departure to Caucasus” - so called his runaway from Russia Alexey Kruchyonikh, one of theorists of “abstruse” language and poetry. Perhaps, fascinated by eastern poetry, Russian futurists changed their yellow shirts by silk Persian clothes.4 In Tiflis exhibitions, opened one by one, debates were organized by “abstruse” poets, in the artistic café “Qimerioni”, “Tsisperkantselebi” read their own verses. The futuristic university “Футурвсёучбище” founded by Alexsey Kruchyonih, Ilia Zdanevich and Igor Terentjev, made home in tavern “Fantastic Tavern”, the walls of which were decorated with phantasmagorias by Kirill and Ilia Zdanevich, Lado Gudiashvili, Alexander Petrakovski and Jury Degen. Communication with Russian avant-garde was close and creative. Sergey Sudejkin together with David Kakabadze and Lado Gudiashvili decorated the walls of artistic café “Qimerioni” with frescos. Voldemar Boberman and Grigory Shiltiani participated in the exhibitions, carried out in Tiflis. In the collection of verses «Фантастический кабачёк», Tiflis, 1919,which was devoted to the actress and muse of futurists Sofia Melnikova, Ilia Zdanevich’s poem «Асёл напракат» was designed by Natalia Goncharova. One copy of this rare book is stored in Shalva Amiranashvili museum of Arts. In 1916 Brothers Zdanevich arranged the first exhibition of Pirosmani’s works in their own house. In 1917 the exhibition of Kirill Zdanevich’s and in 1918 - the exhibition of Lado Gudiashvili’s woks were organized. These exhibitions were confirmation of that the new era began in the Georgian painting. The same year, in the editorial office of the magazine “ARS” “The exhibition of paintings of Moscow futurists” was arranged, where 145 pictures of avant-garde artists were exposed. The works by Georgian artists were also exhibited there. They were: V. Bardt, D. Burliuk, N. Goncharova, A. Grishchenko, K. Zdanevich, I. Kliun, A. Kruchyonikh, N. Kulbin, M. Larionov, K. Malevich, O. Rozanova, V. Tatlin, I. Terentjev, P. Filonov, 3 Паустовский К. Повесть о жизни. Бросок на юг. М., 1968. 4 ServaSiZe n. dro, Tbilisi, kirile zdaneviCi. gamofena `kirile da ilia zdaneviCebi~. katalogi. Salva amiranaSvilis saxelobis xelovnebis muzeumi. Tb., 2009. gv. 44.

A. Shevchenko and V. Gudiev.5 Probably one of these works is now stored in any private collections in Tbilisi. Tiflis poetess of Armenian origin Ripsime Pogosjan so recollects the poetic beau monde of Tiflis avant-garde: “The workshop of poets” under Sergei Gorodetsky’s guidance was situated on Golovinsky Avenue, in “Artisterium”. Here, basically on Wednesdays young poets and writers gathered and discussed “structure, size and rhythm of a poetic line, assonance and alliteration, all that gives the poetic speech melodiousness…” Poetic Wednesdays in Tiflis “workshop of poets” were very crowded. Georgian poets, except 30 members of the “workshop”, mostly members of the symbolist literary association “tsisperi kantsebi”, formed in 1916, used to go there. Look, blue - eyed Titsian Tabidze with a pimento carnation in the button hole of his refined black jacket, enters the “Artisterium”. Together with him comes manly Paolo Iashvili with a heavy strong-willed chin and an acute sight of black eyes, looking from under dense eyebrows. And this is gloomy and silent Valerian Gaprindashvili. True Knights of the literary order, “tsisperkantselebi”, considered the European symbolists - Baudelaire, Verharn, Verlaine and Mallarme, as the founders of their own. “Tsisperkantselebi” brought to the “Workshop” atmosphere of mythical romanticism, in the sonorous lines they sang to a foggy city “Sprut”. These urban character verses, which sounded as an echo under high arches of “Artisterium”, excited our young minds… The celebratory mood of “Wednesdays” was sometimes spoilt by group of poet-futurists. Once Alexey Kruchyonikh came to them. Futurists had their own building. For their meetings they used to gather in a cellar, on Golovinski Avenue. Together with them was a single Armenian futurist-poet Kara-Dervish with long black hair in a wide-brimmed black hat and in a coat wide open. Once we, “normal” poets went to futurists on their usual meeting. In a mysterious, scantily lit cellar the futurists read verses in the “abstruse” language. Alexey Kruchyonih participated also in this “poetic evening”. From one end of a huge cellar with shout and inarticulate speech he suddenly appeared on the other end of it, where Kharaziani, the wise doctor of philosophy was sitting. Having reached the professor, Kruchyonikh slapped him on the chest, then went to the middle of the hall, made a provocative pose and told, that he had just written a verse in the “abstruse” language. All were stunned, especially - the professor. But supporters of Kruchyonih violently applauded him… Our “Wednesdays” were visited by musicians, artists, actors. They began to visit us very often when we passed to Benditsky musical studio, which was situated on Griboedov Street. The walls of not big rooms, where the studio was housed, were painted by Kirill Zdanevich in futuristic style. From the walls violet and orange Cyclops, armless and legless monsters, who expressed persons of the twentieth century, looked at us”.6 In 1917 Ilia Zdanevich, Kara-Dervish, A. Kruchyonikh, N. Chernjavski, L. Gudiashvili, K. Zdanevich founded “Futuristic syndicate”. Later, in 1918 A. Kruchyonih, Igor Terentjev and Ilia Zdanevich left the syndicate and organized “The Company 41o”. Books of small size with “abstruse” verses and cubo-futuristic illustrations were printed there. It was the new type of futuristic handwritten book, created by Alexey Kruchyonikh in Moscow and Petersburg. Lines were often written by a hectograph, a simple pencil and carbon paper, or a rubber stamp. Lithographic books were printed in rather small number, in the form of brochures, on a simple paper (sometimes on a scrap of old wall-paper, on tetradic sheets, sometimes on a simple rough paper). These provocative books were directed against norms and stereotype views, generated in the society. Futurist poets and artists flouted the refined, perfect drawings, executed in modernist style of “мир искусстники”. But shocking behavior, characteristic for futurists - butedlians, covered with itself something greater: the critic of out-of-date literary and art norms, reappraisal of values, birth of new aesthetics which always goes over to the offensive. Creation of words “Словотворчество” of poets- butedlians, Creation of forms “формотворчество” of artists, ex5 Жур. “ARS”.№2/3. 1918. Тиф. с. 136. 6 Погосян Риф. Старший мастер «Цеха поэтов». жур. «Литерптурная Армения». №13., 1964. Ер., с.65-66.

pressed their aspiration to return to a word and an image already lost initial cleanliness and spontaneity, to make it in accordance with the result with the changed spiritual and emotional life experience7. In publishing house “41o”, except the collection, devoted to Sofia Melnikova, which included Ilia Zdanevich’s work from a cycle “Асслабичья”, “Oсёл напрокат” three more works - “Остров Пасхи”, “Янко Круль Албанский” and “3га Якобы” were printed, collections of verses by Igor Terentijev - “Факт” and “Херувимы свистят”, critical monographies - “Рекорд нежности and “А. Кручёных грандиозарь”, theoretical works - “17 ерундовых орудий”, “Трактат о сплошном неприличии”, about 40 books by A. Kruchyonikh (“Учтиесь худоги”, “Ожирение роз”, “Малохолия в капоте”…). The publishing house had not the printing house of their own. Books were printed in different printing houses of Tiflis. The books, published in Tiflis, very soon turned into rare books. Except printing books, newspapers and various magazines were printed: “ARS”, “Phoenix”, “Chiming clock”, “Orion”, “Art”, where articles about “new art” were written. “Despite the hardest conditions of typographical work, dearness of paper and other preventing factors, number of newspapers, magazines and, almanacs, published in the Georgian language, (weekly and monthly) increases… and with such terrific speed, even the usual bibliographer, surprised with such quantity, is not able to register them”.8 In Tiflis the boiling temperature truly reached 410. In the cities of the world culture - Paris, Munich, Moscow, Petersburg and Kiev alternation of avant-garde tendencies covers almost all spheres of culture - fine arts, theatre, poetry, cinema, music. Within these chocking cultural innovations the new aesthetic models, new material is inculcated. In 10-20s of the XXc Tiflis is considered to be such capital town “Tiflis avant-garde lasted more than 4 years. Intensity of culture and intellectuality let the people, living in this city, know, that Tiflis became rather European capital”.9 Tiflis accepted innovation of the century, became its organic participator, brought its own contribution in creation of “new art”. Within centuries Tiflis distributed domestic and cultural traditions, developed on local ground. In general, the feeling of moderation, rhythm and representativeness passes through the creativity in the literature and painting of Tiflis avant-garde. For the Georgian consciousness, there was no dilemma to search the motive power of the Universe. Similarly to Russian art, it doesn’t invent and doesn’t suffer from eternal philosophical analysis of human soul. It perceives the Universe as the eternity based on Bible values. It is in harmony with the nature, with the Universe. Such treatment is sharply felt in creativity of ingenious Pirosmani and David Kakabadze. This synthesis of futuristic destruction and, at the same time, feeling of unity of the Universe, created conviviality in the atmosphere of “Tiflis avant-garde” with the romantic nuance. But let’s return to the museum and the history of collecting of avant-garde art collection. .Within the decades the museum changed its names and location. In 1933 thanks to Dimitry Shevardnadze’s supreme effort the Royal Residence of the Middle Ages (by then 7 Ковтун Е. Русская футуристическая книга. М., 1989. с.16. 8 Л.М.Б. жур. “Братство”. №1. 1920. 9 B. Kardeman. Kirill Zdanevich and Kubo-futurism . Tiflis. 1918-1920. Rachel Adler Gallery. New York. 1987.

it had already been turned over a prison), being near to temple Metechi, had been given to the museum.10 The Museum of Arts Metechi settled down on a rock and looked down on Tiflis… The time became perilous... In those dangerous and uneasy 30th the museum purchased the whole collection of painting and graphic works of Voldemar Boberman and became the rare owner of the avant-garde works of the artist. During the same period the rare futuristic copies, printed in Tiflis were added to the museum funds. In 1930 Dmitri Shevardnadze, the founder of the Georgian museum business and the outstanding public figure, offered his own life for the activity directed against destruction of Metechi church. In 1939, in Moscow, after closing the museum of mixeil Wiaureli, dimitri SevardnaZe, qeTevan maRalaSvili, lado gudiaSvili Mikheil Chiaureli, Dimitri Shevardnadze, Ketevan Maghalashvili, Lado Gudiashvili new West European art, a part of masterpieces of avant-garde art, stored in different collections, were destroyed as formalistic and unacceptable for the socialist society, and the museums of the Union Republics and country towns of Russia became the owners of the other part of the collection.11To museum funds were added two master-pieces of the master of the avant-garde, one of the founders of abstract art Vasily Kandinsky: “Drawing with circle. The first immaterial” and “Black stroke”.

10 Decision of Central Executive Committee of Georgia about relocation of funds of the National gallery of Georgia to the building of the former Metechy prison, was published in the newspaper “ Zaria vostoka” 1 257. 6/XI. 1933. 11 The museum of New West European Art was founded in 1918 as a result of nationalization of private collections of S.Shchukin and I.Morosov. In 1928 the collections were united in the State Museum of new art of Western Europe (Kropotkin street 1 21). In 1948 it was disintegrated and the collections were sent to the State Pushkin Museum of arts and to the Hermitage.

“Moscow became a meeting place for the most revolutionary movements in European art. Thus Cubism from Paris, the “Kunstleververeirigung” of future “Blau Reiter” movement from Munich and the Futurism of Marinetti had an immediate impact on the Russian art” Camilla Gray. “The Great Experiment: Russian Art. 1863-1922.1 In the beginning of the XXc Russian Art develops between two poles and appears at us as the unique kaleidoscope of artistic tendencies of the European art of the late 19th and early 20th centuries. Absolutely radical artistic tendencies, art schools, workshops and associations of artists coexist at one place. The majority of them have their own publishing houses and support themselves by theoretical programs and manifestos. In Moscow, Petersburg and other big cities of Russian empire, in parallel with exhibitions of Russian art, the works of French art are displayed also. Communications of Russian and French artists are very frequent. The patronage is carried out by Russian industrialists - Sergei Morozov and Ivan Schukin - great fans and collectors of the western modernist art, and so does the magazine “Золотое Руно” - “Golden Fleece” - the organizer of French artist’s exhibition. By then the influence of French and German art is clearly visible in different artistic tendencies and, in general, Russian art represents an open space. It freely accepts cultural influences and frequently in synthesis with the local folk art or with traditions of medieval icon painting generates original and very interesting art phenomena. “Peredvizhniki” art, which is the apologist of social subject area and folk origins in art, remains within the limits of art thinking, developed by Russian realistic art of the XIX c. Though, in general, the ardor for impressionistic art of Russian artists left a certain trace on their art. “Peredvishniki” art, despite large number of this organization and acceptance by wide social stratum, at that time, at 10-20s of the XX c loses the positions and, from the artistic and ideological point of view, a little later, becomes the object of criticism. Though, already in the beginning of the 30s it returns the positions and during some time co-exists with avant-garde art of the Soviet period. And then, within decades, artistic and formal principles of “peredvishniki” art irreplaceably and independently take Soviet art school. In parallel the Russian version of European art nouveau - a style of modern - develops and its polychromatic art - stylistic structure appears as one of the interesting phenomena in history of Russian visual art. Communication of real and fantasy, the ornamental-rhythmic system of the organization of flatness of a canvas or a paper, decoratively-planar processing of a surface - is the basic style of Russian modernistic style, that later joins to synthesis of fabulousness and folklore and is characteristic for reminiscence of 1 C. Gray. The Graet Experiment: Russian Art 1863-1922. Thames and Hadson. New-York. 1962. p.81.

lev baqsti. 1866-1924. kostiumis eskizi. muyao, akvareli. 33×24.5 Lev Bakst. 1866-1924. Study of costume. Water color on cardboard. 33×24.5 aleqsandre benua. 1870-1960. versali. qaRaldi, akvareli. 32×24 Alexander Benois. 1870-1960. Versailles. Water color on paper. 32×24 nikoloz rerixi. 1874-1947. ferxuli-qaliSvilebi. eskizi h. ibsenis piesisTvis `per giunti~. 1914 qaRaldi muyaoze, fanqari, guaSi, akvareli. 31.5×49.7 Nicholas Roerich. 1874-1947. Roundelay-Maids. Study of scene design for Henrik Ibsen’s play “Peer Gynt”. 1914 Pencil, gouache and water color on paper on cardboard. 31.5×49.7

nikoloz sapunovi. 1880-1912 balerina. muyao, guaSi. 39.2Ă&#x2014;30 Nikolas Sapunov. 1880-1912 Ballet Dancer. Gouache on cardboard. 39.2Ă&#x2014;30

antique style”.2 The folk art, which on the basis of pagan culture, folklore and traditions in a course of centuries existed in the form of a strong stream, in parallel with the official art, develops also. From the II half of the XVIII c the process of Europeanization, begun by Peter I, is in constant struggle with the second tendency of Russian art. Only after one and a half century the inexhaustible source of the folk art will give inspiration to masterpieces of Russian avant-garde art. The characteristic stylistics of the European artistic tendencies and decorativeness inherent in the local folk art, synthesis of the rough expressional form, primitive energy and farcical manner, give possibility to Russian art to leave frameworks of the European provincialism and cause originality and individuality of Russian fine arts. Seasons of Russian ballet of Diaghilev, the scenography of performances of which were executed by great persons of Russian avant-garde and “Мир искусства“, brightly represents these bilateral mutual relations. On the “scene” of European culture this dualism was especially obvious: on the one hand the refined, subtle form and color, classical balance of compositions, besides, primitive greatness and simplicity of forms, color freedom, boundless expressivity of feelings and passion. Medieval icon painting, provincial art, household everyday stock, bast - a wooden children’s toy, samples of the Ukrainian national skill, traditional rituals and customs - had a huge creative charge, which inspired Russian avant-garde artists. Russian artists need not address to the art of exotic countries for inspiration, as the European artists did. Though, the boundless Russian empire, probably, itself united these exotic countries in the big one… “Long live the fine east! We unite with modern artists of the East for cooperation! Long live nationalism! We go hand in hand with painters”- Michael Larionov wrote.3 If Russian art of modernist style improved art forms, characteristic for national creativity and gave understandable and accessible shape for the high society, gave it aesthetic form, Russian avant-garde art even more aggravated it and often lead up those specific to grotesque art forms. The infatuation for aestheticism was the main reason for the contradiction between the avant-garde artists and the artists of modernist style. “Primitiviseness”, which Eugenie Kovtin4 considers as Russian variant of French fauvism, is as though a transitive step between figurative and abstract in Russian art. The basic of “Primitivism” and, subsequently, “suprematism” in art, Kazimir Malevich sees in Russian icon painting. “All representations (conceptions) about nature and naturalism of “peredvizhniki” were overturned upside down by that, that icon painters, who had reached perfection of techniques represented the contents by antianatomic truthfulness, instead of airy and linear perspective. Color and form were created by purely emotional perception. They neglected all those laws, which bounded them by classics, especially by the academy of V. Makovsky and I. Repin. I, for myself, clearly imagined every line of icon painting from the great art of icon painting, from the painting of horses and cocks, to spinning machine tools, suits - as the folk art line”.5 The 2 3 4 5

Сарабьянов Д. Русское и советское искусство. 1900-1930. М-П. 1981., с.19. Ковтун Е. Русская футуристическая книга. М., 1989. с. 29. Ковтун Е. Малевич. Каталог выставки.Л.-М .-Амс.,1989.с.153. “Отрывки из ”Глав из автобиографии художника(19330”. Малевич. Каталог виставки. Л.-М.-Амс., 1989. с.111.

creativity of ingenious Pirosmani had enormous importance for Larionov’s primitiveness. He was acquainted with Pirosmani by Michael le-Dentju and brothers Zdanevich. His five works were presented in Moscow at the exhibition “Mishen” . Though, this influence concerns only Pirosmani’s formal aspect. The perception of the world, as Pirosmani perceived his, its both cognitive and creative monumentalism and value, simultaneous perception of magnificence and simplicity, his reticence and grandeur - “Cosmos” Pirosmani - was not actual for Larionov. The essence of creativity Pirosmani was precisely defined by Michael le-Dantju when he compared Pirosmani with “Primitivist“ artist Giotto… Though Russian artists, after their strong passion for impressionism, postimpressionism and fauvism denied the influence of the western art on their creativity, it is obvious and natural, that the renewal wind blew exactly from Europe. Natalia Goncharova wrote: “Everything is already passed by me that the West could give till today and everything that my native land has created through the West. And now I shake the dust off my feet and keep away from the West. I consider that its value is very small and insignificant. My way is to the primary source of all arts - to the east. Art of my country is incomparably deeper and more considerable than all I know about the West.”6 In the first decade of the XX c, active and sometimes aggressive rhythm of modernist culture of the European capitals - Paris, Rome, and Munich shook the society of Moscow and Petersburg, who began to live the new social and economic life. In the streets of Moscow the founders and apologists of the “Art of Future” walked in bright jackets, in buttonhole of which a radish or a fork were thrust, they wore earrings in ears and the faces were ornamented by geometrical figures. By that they sneered at the refinement of “Мирискусстники “, made presentation of their own person and new wiews at art, not only in Moscow and Petersburg, but in other cities of the Russian empire. In 1914 the “strange people” appeared in Tbilisi. On March, 27th the newspaper wrote: “On Tuesday on Golovin Avenue three strange dressed gentlemen appeared, accompanied by a crowd of idlers. One of them was dressed in yellow jacket, the second wore a strange headdress and the physiognomy of the third one was painted. The circus has arrived - were the rumors. Clowns go for advertising.”7 The people did not know that those strangely dressed people were futurists. The Tbilisi society coldly enough met the shocking behavior of futurists. The futurism, art of future, which was propagated in Italy by Tomazzo Marinetti8, appeared the following strong charge for development of Russian avant-garde arts. The Russian translation of“The first manifesto of futurism”9 was printed on March, 8th, 1909 in Petersburg newspaper “Вечер”. The more Russian art approached the European one, the desire of Russian artists and poets became clear to underline the importance of national Russian art. Proceeding from this, the hostile treatment of Russian futurists to Marinetti should be considered as natural. Initially Russian futurists called themselves“Будетляны“. They as if wished to hide absolutely natural influence of Italian futurism on

6 7 8 9

Ковтун Е. Русская футуристическая книга. М., 1989. с.32. Шахназарова А., Лященко М. “Футуристы в Тифлисе”.газ. “Головинский проспект”. № 6. 2006. с.11. The programme work of Italian poet Tomazo Marinetti “The first manifesto of futurism” was published in 20.II. 1909 in the newspaper “Le Figaro”. Тастевен Г. Футуризм. М., 1914.

wminda giorgi. XV s-is I nax. novgorodis skola. ruseTi. xe, tempera. 43×39.5 St. George. I part of XV c. Novgorod schoolRussia. Tempera on wood. 43×39.5

wminda giorgi. XIX s. ruseTi. xe, tempera 33.2×26.5 Russian Icon. St.George. XIX c. Russia. Tempera on wood. 33.2×26.5

natalia gonCarova. 1888-1962. wm. giorgi. albomidan `omis mistikuri saxeebi~. 1914 liTografia. 27.8×36.2 Natalia Goncharova. 1888-1962. St. George. From portfolio “Mystical Images of War”. 1914 Lithography. 27.8×36.2

their art.10 Russian futurists tried to create Russian variant of futurism and connected elements of cubism, futurism and primitivism (naive art). The basic difference between Russian Cubo -futurism and Italian futurism is expressed just in relation to the last. If Russian artists tried, often not hiding, to underline value of primitive folk art, the Italian artists declared, that “their primitiveness is a critical point of disorder, when primitivists of the past chatter about simplicity”.11 The formation and development of futuristic poetry and painting was followed by new era in the art of the Russian graphic book. From 1912 in Moscow and Petersburg the edition of futuristic collections (books) designers of which were gifted and already recognized artists of Russian avant-garde: Michael Larionov, Natalia Goncharova, Kazimir Malevich, Paul Filonov, and Olga Rozanova… Graphic arts of the Russian book already had its own traditions (it’s enough to recollect graphic - artists of “Мир искусства), but Russian futurists absolutely changed already existing, generated principles. The innovation was their relation to the primary source of literature. Such radical alteration of design of the book was defined by the originality of abstruse language and poetry. The abstruse verse had been 10 Compton S.P. Italian Futurism and Russia. Art journal. Winter. 1982. p.343-348. 11 ibid - iqve.

constructed on a word-play and often the word was not meaningful. Undoubtedly, that the poets and artists who desired for creation of modern language, new literature, art, were not assured that could change the spoken language or thinking. Therefore at the heart of this search and experiment lays the element of word-play and form, improvisation, when the end and result is not comprehended. All it gave the chance of free interpretation of drawing. The drawing of the futuristic book is distinguished by exclusive lightness and scandalous simplicity. Futurist-artists attached great importance not only to drawing, but also to script. V. Khlebnikov and A. Kruchyonikh wrote that the handwriting varies in connection with mood and regardless of a word it is transmitted to the reader. Futurists supposed that in printing, where all words are typed on one line, the lines are similar and sad. Therefore they, frequently, in one and same collection of poems used different type face. Kruchyonikh wrote:“painters-Budetljans”like to use the privy parts, and those who write words - love the reduced words, half-words and the strange, artful word-combinations of the abstruse (language). Hereby, it reaches great expressiveness and differs from the modern language, which has broken former fossilized language”.12 In the 10s of XX c. cubo-futurism lays the foundation of the development to new styles and tendencies. “Luchizm” of Larionov, “Analytical art” of Filonov, “Nonobective art” by Malevich and Tatlin came into existence from cubo-futurism. Vasily Kandinsky’s creativity was formed in organic relationship with European avant-garde. In 1900s his art is a wide space where absolutely different artistic tendencies and styles co-operate and intersect each other. The representation of color stains and lines, characteristic for German “Ugendstyle”, arrangement of ornaments on the surface of the picture, decorative effect of French fauvism and the intense emotionality of graphic means of German expressionism, in synthesis with medieval Russian icon painting and folkloric art gives birth to Kandinsky’s unique art world. Kandinsky deeply analyzed articles and the phenomena, and the purpose of his creativity saw “in reality and all displays of spirituality”.13 Instead of the visual image of the word, he, by means of artistic methods, paid attention to the “expression of emotional condition of a person”.14 These emotional impacts of the human sole are transmitted by Kandinsky’s abstractions. Executed in 1911, the pictorial work “Picture with circle. The first pointless” is an abstract composition of the artist, where there is no elementary sign of the Universe. Unlike the general characteristic features of Russian avant-garde, Kandinsky’s art is very refined, skilful and contemplate. His art is based on French symbolists and “Мир искусства”; he becomes very keen on the concept of synesthesia, which means combination of various branches of art (poetry, painting, music) in a single work, which influences all sense organs. Proceeding from it, musicality and rhythm of color functions is reached in Kandinsky’s abstract compositions. In his color language the attributive function lays on expression of a color stain, an emotionality of the coordination and the tendency of geometrization of not color composition. Impregnated with the spirit of Messianizm, resuscitating, innovative, noisy and scandalous Russian avant-garde searched and found new 12 Кручёных А. Малохолия в капоте. 2-ое доп. издание. Тиф. 1919. 13 Сарабьянов Д. О Кандинском. Василий Васильевич Кандинский. Каталог выставки. Л., 1989. с. 40. 14 Хаг-Магомедов С. В.В. Кандинский в секции монументального искусства ИНХУКА (1920). Василий Васильевич Кандинский. Каталог выставки. Л., 1989. с. 47.

ways and possibilities to express its own ideas by fine arts methods. They destroyed stereotypes, created a reality comprehensible to them, expressed opposite views to each other, in theoretical manifestos underlined the philosophical beginning of their creativity and tried to explain the secret of existence… After the October revolution the avant-gardism, admired with revolutionary innovative ideas, participated in creation of a new society. Being enthusiastic by revolutionary innovations, freedom and the idea of equality of people, avant-garde artists actively participated in decorating of popular national holidays and demonstrations, but very soon, the avant-garde art, which met the revolution with enthusiasm, had been declared as the ideological enemy of the country. “The avant-garde art created a myth about new life, about new realities. Possessed of the idea of general renewal, they searched for the art form, expressing this idea. The socialist realism created a new myth of a happy reality, which in parallel with the real life, existed only in their ideology. Captured by enthusiasm of revolutionary renewal avant-garde art was replaced by already “renewed” joy, pathos of victory. In 1920 in all Soviet Union the coexistence of all directions of avant-garde art and all official directions of art in 30s of that period ended in the victory of aesthetic conformists. But they, naturally, proved to be political conformists. From the remarkable plead of avant-garde art, some of them found refuge in different countries, some-experienced on themselves communistic prisons, some tried somehow to be rescued in those hostile circumstances…

“Museum collections represent the most considerable public heritage, having the special legal status and are protected by the international laws. The purpose of the state is by reasonable management provide legality of the property, stability, documentation, accessibility and responsibility for the management”. ICOM - The code of museum ethics of the international union of museums. Chapter 2, a principal rule.

In 1952 the building of neoclassical style, which belonged to a businessman and Maecenas Jacob Zu balashvili was given to the Museum of arts. The building was constructed in early XIX c by the Italian architect Giuseppe Bernardachi. Almost 30 years Shalva Amiranashvili (1889-1968) - the brilliant scientist, one of the founders of the Georgian art criticism, the researcher of medieval art and culture, the brilliant expert of the European and Russian art - was at the head of the museum. He continued the work begun by Dimitry Shevardnadze and enriched the museum storehouses by the subjects, purchased from all corners of the Soviet Union. In 1954 the department of Fine Arts was broken up into the Georgian, West European and Russian art. The head of the last became Dimitry Gordeev (1889-1968), the historian of art and the archaeologist. In 1910s he actively participated in the “Tiflis - avant-garde” and was the participant of “Futuristic group “410” of “abstruse artists”. It is natural that for Gordeyev Russian avant-garde was especially valuable and very close. In 30th -40th the museum funds replenished with graphic works of Michael Larionov, Natalia Goncharova Kazimir Malevich, Olga Rozanova and Alexander Volkov. In 2013, as a result of stocktaking of the fund of graphic works of the departments of Russian art of the museum, in Dimitry Gordeyev’s archive a folder with cubo-futurist graphic works, executed by water color and an advertising poster of “ARS” magazine was found. Art funds of the Soviet republics, created in 1978, were replenished with pictorial and graphic works of Russian avant-garde from different sources. The outstanding contribution was made by Lia Dolaberidze (1928-2005) - the head of the department, in the creation of the collection, which was gathered for the department funds almost from all Soviet Union. Contacts with artists and there successors gave her the chance to get not only one exhibit, but also the whole collection. Art works by Robert Falk and Alexander Shevchenko stored in Shalva Amiranashvili Museum of Fine Arts give us the chance to track the way of development of creativity of these remarkable artists. The collection of pictures of Robert Falk, which had been purchased in Moscow at the widow of the artist, is notable for its variety. During the existence of Georgia as a part of the Soviet Union for the first time, in 1989, the exhibition of avant-garde art was organized. In cooperation with the widow of Ilia Zdanevich, madam Ellen Djuar, the exhibition of works of Kirill and Ilja Zdanevich took place (Curators of the exhibition: Irina Dzutsova and Nonna Kharatishvili). By placing on one space of the rare artifacts of the museum and one stored in private collections, the vital and full picture of “Tiflis avant-garde” was revived. The museum till today pursues the active policy of exhibitions in Georgia and abroad. Samples of Russian avant-garde art were exhibited in Paris, New York, Brussels… The avant-garde is always modern. The revolutionary inclination to renovations, to radical vital changes, even today excites the mankind. Therefore avant-garde art is always actual, always desired. The exhibition “Avant-Garde” is the first attempt to

present before public the samples of avant-garde art, stored in the museum funds. At the same time, our desire is to express once again the respect to those people, whose enthusiasm, indefatigable work and selflessness created the collection of avant-garde art of the Shalva Amiranashvili Art Museum. Nana Shervashidze

bilaniSvili bobermani bruni gonCarova gudiaSvili gureviCi valiSevski vitingi volkovi zdaneviCi kakabaZe kandinski kibriki kruCionixi larionovi liCini maleviCi milmani redko rozanova tiSleri falki firosmani qiqoZe qoCari SevCenko Suxaevi

BILANISHVILI BOBERMAN BRUNI GONCHAROVA GUDIASHVILI GUREVICH VALISHEVSKI VITING VOLKOV ZDANEVICH KAKABADZE KANDINSKI KIBRIK KRUCHIONIKH LARIONOV LICHINI MALEVICH MILMAN REDKO TISHLER FALK PIROSMANI QIQODZE QOCHAR SHEVCHENKO SHUKHAEV

mixeil bilaniSvili. 1901-1934. giorgi RambaraSvilis portreti. 1926. tilo, zeTi. 91×72 qveda, marcxena kuTxeSi xelmowera da TariRi: Michel Bilanihvili Paris 1926 warm.: SeZenilia naTela RambaraSvilisgan 1967 wels. Tbilisi

Michael Bilanishvili. 1901×1934. Portrait of Giorgi Ghambarashvili. 1926. Oil on canvas. 91х72 Sighned and dated at the bottom left corner : Michel Bilanihvili Paris 1926 Prov.: purchased from Natela Ghambarashvili in 1967. Tbilisi.

vladimer (voldemar) bobermani. 1897-1987. qalaqi. 1919. tilo, zeTi. 44×51 suraTis zurgze, tiloze warwera: В. Боберман.1919 г. warm.: xelovnebis muzeumi metexi. 1937 gamofenaze eqsponirebulia pirvelad.

Vladimir (Voldemar) Bobermann. 1897-1987. Landscape. 1919. Oil on canvas. 44х51 Sighned and dated at the reverse side : В.Боберман. 1919 г. Prov.: Art Museum Metekhi . 1937 Exposed for the first time.

vladimer (voldemar) bobermani 1897- 1987 peizaJi. tilo, zeTi 64×49 warm.: xelovnebis muzeumi metexi. 1937 w. gamofenaze eqsponirebulia pirvelad

vladimer (voldemar) bobermani. 1897-1987 peizaJi. tilo, zeTi. 44×51 warm.: xelovnebis muzeumi metexi. 1937 gamofenaze eqsponirebulia pirvelad

Vladimir (Voldemar) Bobermann. 1897-1987 Landscape. Oil on canvas. 64×49 Prov.: Art Museum Metekhi . 1937 Exposed for the first time.

Vladimir (Voldemar) Bobermann. 1897-1987 Landscape. Oil on canvas. 44x51 Prov.: Art Museum Metekhi. 1937 Exposed for the first time.

vladimer (voldemar) bobermani 1897-1987 naturmorti. qaRaldi, fanqari. 33.5×21.5 warm.: xelovnebis muzeumi metexi. 1937 gamofenaze eqsponirebulia pirvelad

vladimer (voldemar) bobermani 1897-1987. mamakaci Rvinis WiqiT. qaRaldi, fanqari. 23.5×15.5 warm.: xelovnebis muzeumi metexi. 1937 gamofenaze eqsponirebulia pirvelad

Vladimir (Voldemar) Bobermann. 1897-1987 Still-life. Pencil on paper. 33.5x21.5 Prov.: Art Museum Metekhi. 1937 Exposed for the first time.

Vladimir (Voldemar) Bobermann. 1897-1987 Man with a Glass of Wine. Pencil on paper. 23.5×15.5 Prov: Art Museum Metekhi 1937. Exposed for the first time.

lev bruni. 1894-1948. poet balmontis portreti. 1915. qaRaldi, guaSi. 66×50 qveda, marjvena kuTxeSi xelmowera: Левъ Бруни warm.: SeZenilia mxatvris ojaxidan 1980 wels. moskovi, ruseTi

Lev Bruni. 1896-1948. Portrait of Poet Balmont. 1915. Gouache on paper. 66x50 Signhed at the bottom right corner : Левъ Бруни Prov.: purchased from the family of the artist in 1980. Moscow, Russia

lev bruni. 1894-1948. bazroba. 1918-1920. qaRaldi, akvareli. 34Ă&#x2014;51 warm.: SeZenilia mxatvris ojaxidan 1980 wels. moskovi, ruseTi

Lev Bruni. 1896-1948. Fair. 1918-1920. Water color on paper. 34Ń&#x2026;51 Prov.: purchased from the family of artist in 1980. Moscow, Russia

kruCionixi a., xlebnikovi v. `mirskonca~. n. gonCarovas, m. larionovis, n. rogovinisa da v. tatlinis naxati. g. kuzminisa da s. dolinkis gamomcemloba. titiaevis stamba. mMoskovi. 1912. 220 egz. Cvens koleqciaSi daculia xuTi liTografia. warm.: SeZenilia nikoloz qaSakaSvilisgan 1974 wels. Tbilisi Kruchyonikh А, Khlebnikov V. Mirskontsa (Worldbackwards). N.Goncharova, M.Larionov, N.Rogovin, V.Tatlin’s lithographs. Publisher: G.Kuzmin, S.Dolinsky. Printer: Titjaev. Moscow. 1912. Edition: 220. The are five lithographies stored in our collection Prov.: purchased from N.Qashakashvili in 1974. Tbilisi

mixeil larionovi. 1881-1962. peizaJi saxlebiT _ ilustracia a. kruCionixis leqsisTvis `При гробовщике~. liTografia. 18×13.5. marjvniv,zemoT xelmowera: Ларiонов. natalia gonCarova. 1888 - 1962. peizaJi saxlebiT - ilustracia a. kruCionixis leqsisTvis «Сон». liTografia. 18×13.5 qvemoT, marjvniv: Наталiя Гончарова / ConCxi xis qveS - ilustracia a. kruCionixis prozisTvis «Путешествие по всему свету». liTografia. 18×14. qvemoT, marjvniv: Наталiя Гончарова / mimavali xalxi - ilustracia a. kruCionixis prozisTvis «Путешествие по всему свету». liTografia. 17.7×13.2. qvemoT, marjvniv: Наталiя Гончарова / veluri qali - ilustracia a. kruCioixis prozisTvis «Путешествие по всему свету». liTografia. 18.4×14.4. qvemoT, marcxniv: Гончарова

M. Larionov. 1881-1964. Illustration for A.Kruchyonikh’s verse “At the Coffin Maker”. Lithograph. 18х13,5. Signed in the right top corner : Ларіонов / Natalia Goncharovа. 1888-1962. Landscape with Houses – illustration for A.Kruchyonikh’s verse “Dream”. Lithograph. 18х13,5. Below, to the right: Наталia Гончарова / Skeleton under the Tree –illustration for A.Kruchyonikh’s prose “Traveling all over the World”. Lithograph. 18х14. Below, to the right: Наталia Гончарова / Walking People – illustration for A.Kruchyonikh’s prose “Traveling all over the World”. Lithograph. 17, 7х13,2. Below, to the right: Наталia Гончарова / Savage –illustration for A.Kruchyonikh’s prose “Traveling over the World”. Lithograph. 18,4х14.4. Below, on the left: Гончарова

kruCionixi a. ori poema. meudabnoni. meudabnoe qali. Две поэмы. Пустынники Пустынница. n. gonCarovasa da m. larionovis naxati. u. kuzminisa da s. dolinskis gamomcemloba. s. muxarskis stamba. moskovi. 1913. 480 egz. Cvens koleqciaSi daculia aTi liTografirebuli furceli _ tituli da cxra ilustracia. warm.: SeZenilia nikoloz qaSakaSvilisgan 1974 wels. Tbilisi mixeil larionovi. 1881-1964. tituli. liTografia. 18.3×14.5/natalia gonCarova. 1888-1962. ilustraciebi: meudabnoe. liTografia. 18.5×14.4/ori uxucesi. liTografia. 18.4×14.2 /xarze amxedrebuli meudabnoe. liTografia. 18.3×14.5. qvemoT marcxniv N/biWi, cxeni da gveli. liTografia. 18.5×14.2/uxucesi xelSi ZaRliT. liTografia. 18.5×14.2/xelebaweuli qali. liTografia. 18.5×14.2/meudabnoe, eSma da angelozi. liTografia. 18.5×14.2 qvemoT marcxniv НГ/gaqceuli qali. liTografia. 18.5×13.7 qvemoT marcxniv Н.Гончарова / peizaJi xeebiT. liTografia. 18×14.1

Kruchyonikh A. Two poems. Hermits -Dve poemi. Pustinniki, Pustinnitsa. Lithographs by M. Larionov and N.Goncharova. Publishers: G.L. Kuzmin, S. D.Dolinsky. Printer: S. Mukharsky. Moscow. 1913. Edition: 480 There are ten lithographic sheets – a title and nine illustrations stored in our collection. Prov.: purchased from N. Qashakashvili in 1974. Tbilisi. Michael Larionov. 1881-1964. Title page. Lithograph. 18,3х14,5. Natalia Goncharova 1888-1962. Illustrations : Hermit. Lithograph. 18,5х14,4/ Two Elders. Lithograph. 18,4х14,2/ Hermit, Sitting on a Bull. Lithograph. 18,3х14,5. Below on the left-N/Boy, Horse and Snake. Lithograph. 18,5x14,2/ Elder with a Dog in his Hand. Lithograph. 18,5x 14,2/ Woman with Hands Upwards. Lithograph. 18,5х14,2/Hermit, Devil and Angel. Lithograph. 18,5x14,2. Below on the left is a monogram – НГ/ Running Woman. Lithograph. 18,5х13,7. Below, on the left – Н.Гончарова/ Landscape with Trees. Lithograph. 18х14,1

. I msoflio omis dros, 1914-1916 wlebSi, moskovsa da peterburgSi omis Temisadmi miZRvnili ramdenime liTografirebuli krebuli da albomi gamovida. maT Soris natalia gonCarovas «Мистические образы войны», olga rozanovas `Война~, aleqsandre kruCionixis `Вселенская война.Ъ~ da pavle filonovis «Пропевень о проросли мировой». wigni-albomi, `omis mistikuri saxeebi~ romelic yviTel saqaRaldeSi Cawyobili 16 liTografiuli furclisgan Sedgeba (14 ilustracia), gamomcemelma v. kaSinma amxanagoba i. kuSniriovi da К°-is tipoliTografiul stambaSi dabeWda. warm.: SeZenilia elene xuWuasgan 1974 wels. Tbilisi 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

gamarjvebuli wminda giorgi TeTri arwivi inglisuri lomi franguli mamali mxecze amxedrebuli qalwuli peresveti da osliabia arqistratigi miqaeli xilva qristesmoyvare mxedroba angelozebi da aeroplanebi ganwiruli qalaqi cxeni bledi saZmo saflavi wm. aleqsandre neveli

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

Sacred George the Victorious White Eagle English Lion French Cock Maiden on the Beast Peresvet and Osliabia Arhistratig Michael Vision in the Clouds Christ’s Army Angels and Airplanes Вoomed City Pale Horse Common Grave St. Alexander Nevsky

Goncharova N. Mystical Images of War. 14 lithographs in a yellow publishing folder. Publishing house of V.Kashin. Tipo-lithograph of association of I.Kushneryov and Ko. 1914. Prov: purchased from Elene Khuchua in 1974. Tbilisi During the First World War, 1914-1916, in Moscow and Petersburg several lithographic collections, devoted to the theme of war, were published. Among them were: Natalia Goncharova “Мистические образы войны”, Olga Rozanova “Война”, Alexander Kruchyonikh “Вселенская война.Ъ” and Paul Filonov ”Пропевень о проросли мировой”.

lado gudiaSvili. 1896-1980. merani. 1918 tilo, zeTi. 154Ă&#x2014;107 qveda, marjvena kuTxeSi xelmowera: l. gudiaSvili warm.: xelovnebis muzeumi metexi Lado Gudiashvili. 1896-1980. Pegasus. 1918 Oil on canvas. 154Ă&#x2014;107 Signed at the bottom right corner: l. gudiaSvili Prov.: Art Museum Metekhi

lado gudiaSvili 1896-1980. portreti. 1918 qaRaldi, tuSi. 27×21.2 qveda, marjvena kuTxeSi xelmowera da TariRi: Вл. Гудiашвили 18г. warm.: xelovnebis muzeumi metexi

lado gudiaSvili 1896-1980. avtoportreti. 1919 tilo, zeTi. 90×72 qveda, marjvena kuTxeSi xelmowera: vl. gudiaSvili warm.: SeZenilia lado gudiaSvilisgan 1934 wels. Tbilisi

Lado Gudiashvili. 1896-1980. Portrait. 1918 Indian ink on paper. 27×21.2 Signed and dated at the bottom right corner : Вл.Гудiашвили 18г. Prov.: Art Museum Metekhi

Lado Gudiashvili. 1896-1980. Self-portrait. 1919 Oil on canvas. 90×72 Signed at the bottom right corner : vl. gudiaSvili Prov.: purchased from Lado Gudiashvili in 1934. Tbilisi.

lado gudiaSvili 1896-1980. mwyemsi. 1918 qaRaldi, fanqari. 21.2×24 qveda, marcxena kuTxeSi xelmowera da TariRi: vl. gudiaSvili 18. warm.: xelovnebis muzeumi metexi

Lado Gudiashvili. 1896-1980. Shepherd. 1918 Pencil on paper. 21.2×24 Signed and dated at the bottom right corner: vl. gudiaSvili. 18. Prov.: Art Museum Metekhi

lado gudiaSvili 1896-1980. cxenburTi. 1917 qaRaldi, guaSi. 29×17 qveda, marjvena kuTxeSi xelmowera da TariRi: vl. gudiaSvili 1917w. warm.: SeZenilia v. anjafariZisgan 1961 wels

Lado Gudiashvili. 1896-1980. Polo. 1917 Gouache on paper. 29×17 Signed and dated at the bottom right corner: vl. gudiaSvili. 1917 Prov.: purchased from V.Anjaparidze in 1961. Tbilisi

lado gudiaSvili 1896-1980. mamakacis SiSveli figura. 1918 qaRaldi, fanqari. 25.5×21.5 qveda, marjvena kuTxeSi xelmowera: vl. gudiaSvili warm.: xelovnebis muzeumi metexi

lado gudiaSvili 1896-1980. aTleti. 1918 qaRaldi, fanqari. 55×42.321.5 qveda, marcxena kuTxeSi xelmowera: vl. gudiaSvili warm.: xelovnebis muzeumi metexi

Lado Gudiashvili. 1896-1980. Nude Figure of a Man. 1918 Pencil on paper. 25.5х21.5 Signed at the bottom right corner: vl. gudiaSvili Prov.: Art Museum Metekhi

Lado Gudiashvili. 1896-1980. Athlete.1918 Pencil on paper. 55x42 Signed at the bottom left corner: vl. gudiaSvili Prov.: Art Museum Metekhi

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lado gudiaSvili 1896-1980. Zveli Tbilisis quCa. 1930. qaRaldi, akvareli. 32Ă&#x2014;38 qveda, marjvena kuTxeSi xelmowera da TariRi: vl. gudiaSvili. 1930 warm.: SeZenilia Tamar gociriZisgan 1974 wels. Tbilisi gamofenaze eqsponirebulia pirvelad

Lado Gudiashvili. 1896-1980. Street of Old Tbilisi. 1930. Water color on paper. 32Ń&#x2026;38 Signed and dated at the bottom right corner: vl. gudiaSvili. 1930. Prov.: purchased from Tamar Gotsiridze in 1974. Tbilisi Exposed for the first time.

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mixeil gureviCi. 1904-1943. naturmorti. 1930-iani wlebi. tilo, zeTi. 80Ă&#x2014;60.5 warm.: SeZenilia e. baCkovskaia koleqciidan 1979 wels. moskovi, ruseTi

Michael Gurevich. 1904-1943. Still-life. 1930s. Oil on canvas. 80x60.5 Prov.: purchased from E.Bachkovskaiaâ&#x20AC;&#x2122;s collection in 1979. Russia.

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germanuli eqspersionizmis gavleniT Sesrulebuli `e. maliarovskaias portretis~ (1933. tilo, zeTi. 58×46.5) zurgze dekoratiul fonze, gamosaxulia mamakacis figura balalaikiT xelSi. restavrator nana managaZis mier Catarebuli samuSaos Sedegad es kompozicia pirvelad gaxda xelmisawvdomi farTo sazogadoebisTvis. igi SedarebiT adre, 1920-iani wlebis dasasrul, unda iyos Sesrulebuli da masSi aSkarad Cans neoprimitivizmis gavlena.

nikoloz vitingi. 1910-1991. balalaika. tilo, zeTi. 58×46.5 zeda, marjvena kuTxeSi: В warm.: SeZenilia mxatvris saxelosnodan 1979 wels. Mmoskovi, ruseTi

Nicolay Viting.1910-1991. Balalaika. Oil on canvas. 58х46.5 Initial `in the top right corner: B Prov.: purchased from the artist’s studio in 1979. Moscow, Russia. Exposed for the first time.

E.Maljarovskaja’s portrait is executed under the influence of German expressionism (1933. Oil on canvas, 58х46.50). On the other side of the picture, on decorative background, a figure with a balalaika in the hand, executed in style of neo primitivism , is represented. As a result of restless work, done by the restorer Nana Managadze, this composition became accessible to broad society for the first time. This work should be executed much earlier, in the end of 1920, and the influence of neo primitivism is clearly visible.

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zigmund (ziga) valiSevski 1897-1936 Zygmunt Waliszewski 1897-1936 kakaos gulebis gamyidveli. 1920-iani wlebi. qaRaldi, fanqari. 19×13. qvemoT warwera: «Продающая сердца изь какао» iyureba da icinis. 1920-iani wlebi. qaRaldi, fanqari. 19×13.5. qveda, kidesTan xelmowera: С. В. da warwera: «Смотрит и смеётся» En Deux - orni. 1920-iani wlebi. qaRaldi, fanqari. 19×13. qvemoT, marjvniv xelmowera: С. В. da warwera: en deux sami xali. 1920-iani wlebi. qaRaldi, fanqari. 19×13. marjvena qveda kuTxeSi xelmowera С. В. zeda kideze warwera: «3 родинки» sakuTar Tavze ukeTesi, ofeliaze uaresi. 1920. qaRaldi, fanqari. 19×13.5. qvemoT xelmowera: С. В., TariRi 920 (1920) da warwera: «Лучше себя, хуже Офелии» dorbli Camosdis. 1920-iani wlebi. qaRaldi, fanqari. 19×13.5. qvemoT xelmowera С. В. da warwera: «Пускает слюну» saxlSi. 1920-iani wlebi. qaRaldi, fanqari. 19×13. qveda, marcxena kuTxeSi xelmowera С. В. zeda kideze warwera: «Дома» ise rogorc jonsonTan. 1920-iani wlebi. qaRaldi, fanqari. 19×13. qvemoT xelmowera С. В. da warwera: «Совсем как Джонсон» №19 patara xelTaTmanebSi Tqveni siTboa. 1920-iani wlebi. qaRaldi, fanqari. 19×13. qvemoT xelmowera С. В. da warwera: «В перчатках маленьких есть ваша теплота» warm.: SeZenilia neprencevisgan 1980 wels. Tbilisi

Seller of Cocoa Hearts. 1920s. Pencil on paper. 19×13 Titled below «Продающая сердца изь какао» Looking and Laughing. 1920s. Pencil on paper. 19×13.5 Signed and titled below: С. В. «Смотрит и смеётся» En Deux-In two. 1920s. Pencil on paper. 19×13 Signed and titled in the right below: С. В en deux Three Moles. 1920s. Pencil on paper. 19×13 Signed and titled in the right upper edge: С. В «3 родинки» Better then Yourself, Worse then Ophelia. 1920s. Pencil on paper. 19×13. Signed, dated and titled below: С. В 920 (1920) «Лучше себя, хуже Офелии» She’s Dribbling. 1920s. Pencil on paper. 19×13 Signed and titled below: С. В 920 (1920) «Пускает слюну» At Home. 1920s. Pencil on paper. 19×13 Signed in the bottom, left corner: С. В and titled upper: «Дома» Every Bit a Jonson. 1920s. Pencil on paper. 19×13. Signed and titled below: С. В «Совсем как Джонсон» №19 Small Gloves keep your Warmth. 1920s. Pencil on paper. 19×13. Signed and titles below: С. В «В перчатках маленьких есть ваша теплота»

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Prov.: purchased from Neprencev in 1980. Tbilisi

aleqsandre volkovi. 1886-1956. bazarSi qaRaldi, akvareli. 14×43 zeda, marjvena kuTxeSi xelmowera: А. Волков warm.: SeZenilia ioseb izraxisgan 1981 wels. Tbilisi gamofenaze eqsponirebulia pirvelad.

Alexander Volkov. 1886-1956. In the Market Water color on paper. 14x43 Signed at the upper right corner: А. Волков. Prov.: purchased from Joseph Izrakh in 1981. Tbilisi. Exposed for the first time.

aleqsandre volkovi. 1886-1956. aRmosavluri motivi. qaRaldi, akvareli. 19×27 zeda, marcxena kuTxeSi xelmowera: А. Волков warm.: SeZenilia ioseb izraxisgan 1981 wels. Tbilisi gamofenaze eqsponirebulia pirvelad.

Alexander Volkov. 1886-1956 Oriental Motif Paper, aquarelle. 19×27 Signed at the upper left corner there is the signature: А. Волков. Prov.: purchased from Joseph Izrakh in 1981. Tbilisi. Exposed for the first time.

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Софіи Георгіевнa Мельниковой. Фантастическій кабачек. Тифлис. 1917. 1918. 1919. Изд. 41˚ 1919. 190 л. 18×13.5 sofia melnikovas. fantastikuri duqani. tfilisi. 1917. 1918. 1919. gamomcemloba 41˚. 1919. 190 furceli. 18×13.5 krebuli Seiqmna ilia zdaneviCis iniciativiTa da dafinansebiT. igi eZRvneba ilia zdaneviCis muzas, tfilisis marionetebis Teatris msaxiob sofio melnikovas (sofio kaplani. 1890-1989). mSvenieri qalbatoni TbilisSi moRvawe xelovanTa muza da megobari iyo. igi monawileobda futuristul TavyrilobebSi da xSirad kiTxulobda futuristi poetebis leqsebs `fantastikur duqanSi~. sofio melnikovasadmi miZRvnili krebuli, erTi mxriv, avangarduli tfilisis umniSvnelovanesi movlena, meore mxriv ki, zogadad avangarduli kulturis gamorCeuli qmnilebaa, romelSic aisaxa, avangardisa da, miT ufro, `tfilisuri avangardis~ saxasiaTo tendenciebi. sofio melnikovasadmi miZRvnili krebuli `fantastikuri duqani~ multinacionaluri, rTuli konceptualuri arsis mqone artobieqtia da moicavs sxvadasxva erovnebis avtorTa gansxvavebuli specifikis literaturulsa Tu mxatvrul nawarmoebebs. igi gansxvavebuli kulturis, tradiciis, stilis, xelweris, stamburi anawyobis, Sriftis feeriuli sinTezia… simbolistur poezias ultraTanmedrove zaumi da Zveli xelovnebis kvlevis nimuSebi sdevs. krebulSi Sevida qarTul enaze gr. robaqiZis, t. tabiZis, p. iaSvilis leqsebi; somxurad _ yara-darviSis futuristuli cdebi; n. vasilievas, t. veCorkas, v. katanianis, a. kruCionixis, s. koronas, i. terentievis, n. Cerniavskis, g. SaikeviCis, a. CaCikovis leqsebi rusul enaze, ilia zdaneviCis zaumuri `dra~ «Асёл на пракат», d. gordeevis statia «№1283. Нѣсколько слов о лицевом спискѣ «Iосебзилиханiани» библiотеки О-ва распространенiя грамотности среди грузинского населенiя в Тифлисѣ». `futurist `zaumnikebis~ ZiebebisTvis damaxasiaTebelma teqstis tipografiuli gaformebis eqspresiulobam am krebulSi apogeas miaRwia~. krebuli ilustrirebuli iyo l. gudiaSvilis, k. zdaneviCis, a. baJbeuq-meliqovis, s. valiSevskis, n. gonCarovas, m. kalaSnikovis, i. terentievis mier. ilia zdaneviCis mier Sesrulebuli Sriftis kolaJi am grafikuli niSnis codnis xarisxiT, misi gasaocari gamomsaxvelobiTa da mdidari fantaziiTa gamoirCeva. sayuradRebo erTi faqtia, krebulis dasawyisSi avtorTa CamonaTvalSi inglisurenovani Targmani Tan axlavs mxolod qarTvel avtorTa – poetTa da mxatvarTa gvarebs. gansxvavebiT rusi avangardistebisagan, romlebic, miuxedavad dasavluri xelovnebis usazRvrod didi gavlenisa maTs Semoqmedebaze, cdilobdnen mis nivelirebas. qarTveli xelovanebi amiT TiTqos xazs usvamen TavianTi sulier kavSirs dasavlur

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kirile zdaneviCi. 1892-1969. naturmorti. 1920-iani wlebi. tilo, zeTi. 65×82 qveda, marjvena kuTxeSi xelmowera: К. Зданевич warm.: SeZenilia arCil lukaSvilisgan 1971 wels. Tbilisi ilia zdaneviCma wignze «лидантЮ фАрам» muSaoba 1919 wels jer kidev tfilisSi daiwyo da parizSi 1923 wels gamosca grifiT «41°». misi yda mxatvrulad granovskim gaaforma. wigni ramdenime drasgan Sedgeboda. maT Soris yvelaze dadaisturi drama-pentalogia «АслааблИчье» avtorma udrood wasul megobars, mixeil le-dantius, miuZRvna. wignis gamosvlis Semdeg iliazdma Tqva: `es umaRlesi wertilia. da mivaRwie ra mas, me Tavs vanebeb am wigns. mSvidobiT veubnebi axalgazrdobas, zaums, akrobatis grZel gzas, ekivoks, civ gonebas, yvelafers, yvelafers, yvelafers~. es wigni yvela maxasiaTebliT zaumuri poeziis verbaluri da vizualuri Sedevria. is TbilisSi gamocemul «Остраф пасхи»-Tan erTad iliazdis avangarduli Semoqmedebis mwvervalia. swored isaa suprematistuli faifuris garniturTan erTad am natiurmortis mTavari koncepti.

Kirill Zdanevich. 1892-1969. Still life. 1920s. Oil on canvas. 65x82 Signed at the bottom right corner: К.Зданевич Prov.: purchased from Archil Lukashvili in 1971. Tbilisi. Ilia Zdanevich started to work over the book “лидантЮ фАрам” in 1919 in Tiflis and published it under the signature stamp “41о” in Paris in 1923. Book cover was designed by Granovsky. The book included several “дра”. Among them the most dada drama-pentalogy «АслааблИчье» the author devoted to untimely left friend Michael le-Dantiu. After publication of the book Iliazd said: “It is the highest point. And when I have already reached it, I leave this book. I say goodbye to the youth, abstruse, long road of the acrobat, equivoque, cold mind, everything, everything, and all.” This book is the most characteristic verbal and visual masterpiece of abstruse poetry. It, together with the published in Tbilisi “Остраф пасхи”, is the top of Iliazd’s avant-garde creativity. It is just the main concept of this still-life together with suprematic porcelain set.

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kirile zdaneviCi. 1892-1969. niu. 1910-iani wlebi tilo, zeTi. 123Ă&#x2014;91 qveda, marcxena kuTxeSi xelmowera: K. Zdanevich warm.: SeZenilia v. zelcerisgan 1978 wels. Tbilisi

kirile zdaneviCi. 1892-1969. poet kolau Cerniavskis p-ti. 1920-iani wlebi. tilo, zeTi. 105Ă&#x2014;67 warm.: xelovnebis muzeumi metexi

Kirill Zdanevich. 1892-1969. Portrait of Kolau Cherniavski. 1920s Oil on canvas. 105x67 Prov.: Art Museum Metekhi

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Kirill Zdanevich. 1892- 1969. Nude. 1910s. Oil on canvas. 123x91. Signed at the bottom left corner: K. Zdanevich Prov.: purchased from V. Zeltzer in 1978. Tbilisi.

kirile zdaneviCi. 1892-1969. dekoratiuli motivi. qaR., fer. fanqari. 36×36 naturmorti. 1939. qaR., fanqari. 8.8×11.5 reklamis eskizi. qaR., fanqari. 20.5×13.5 dekoratiuli motivi. qaR., tuSi. 10.5×15 warm.: yvela namuSevari SeZenilia mxatvris qaliSvilis, valentina zdaneviCisgan 1981 wels. Tbilisi Kirill Zdanevich. 1892-1969. Decorative Motif. Colored pencil on paper. 36x36 Still life. 1939. Pencil on paper. 8,8x 11,5 Sketch for advertising. Paper, pencil. 20.5х13.5 Decorative Motif. Gouache on paper, 10,5x 15 Prov.: all works are purchased from the artist’s daughter Valentina Zdanevich in 1981. Tbilisi.

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kirile zdaneviCi. 1892-1969. naturmorti. 1919. tilo, zeTi. 71×98 zeda, marcxena kuTxeSi xelmowera: К. Зданевич warm.: saqarTvelos erovnuli galerea

Kirill Zdanevich. 1892-1969. Still life. 1919 Oil on canvas. 71x98 Signed in upper left corner: К.Зданевич Prov.: National museum of Georgia

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daviT kakabaZe. 1889-1951. abstraqtuli naturmorti. 1924. tilo, zeTi, aluminis CarCo. 45Ă&#x2014;54 qveda, marjvena kuTxeSi xelmowera da TariRi: D. Kakabadze 1924 warm.: SeZenilia daviT kakabaZisgan 1928 wels. Tbilisi David Kakabadze. 1889-1851. Abstract still-life. 1924. Oil on canvas, aluminum frame. 45Ń&#x2026;54 Signed and dated at the bottom right corner : D.Kakabadze 1924 Prov.: purchased from David Kakabadze in 1928

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daviT kakabaZe. 1889-1951 konstruqciul-dekoraciuli kompozicia. 1924. xe, zeTi, mina zeTi. 50×35 qvemoT, marcxniv xelmowera da TariRi: D. Kakabadzé, 1926. warm.: SeZenilia daviT kakabaZisgan 1928 wels. Tbilisi David Kakabadze. 1889-1851 Сonstructive-decorative composition. 1926. Wood, oil, glass, tempera. 50х35 Signed and dated at the bottom left corner: D.Kakabadze, 1926 Prov.: purchased from David Kakabadze in 1928. Tbilisi.

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daviT kakabaZe. 1889-1951. abstraqcia. 1927. muyao, zeTi, aluminis CarCo. 46×61 qveda, marcxena kuTxeSi xelmowera da TariRi: D. Kakabadze 1927 warm.: SeZenilia daviT kakabaZisgan 1928 wels. Tbilisi David Kakabadze. 1889-1851. Abstraction. 1927. Cardboard, oil, Aluminum frame. 46x61 Signed and dated at the bottom left corner: D. Kakabadze 1927 Prov.: purchased from David Kakabadze in 1928. Tbilisi.

daviT kakabaZe. 1889-1951. abstraqcia 1927. tilo, zeTi. 45×60 qveda, marcxena kuTxeSi xelmowera: David Kakabadze 1927 warm.: SeZenilia daviT kakabaZisgan 1928 wels. Tbilisi David Kakabadze. 1889-1851 Abstraction.1927. Oil on canvas. 45х60 Signed and dated at the bottom left corner: Д. Какабадзе 1924 Prov.: Passed under the will of Victor Nozadze by administration of council of Levill association of the Georgian society in 1992. Paris, France.

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daviT kakabaZe. 1889-1951. abstraqcia. 1926. muyao, zeTi. 45×60 qveda, marjvena kuTxeSi xelmowera da TariRi: Д. Какабадзе 1924 warm.: gadmocemulia viqtor nozaZis anderZiT levilis qarTuli karis asociaciis administraciis sabWos mier 1992 wels. parizi, safrangeTi. David Kakabadze. 1889-1851. Abstraction. 1924. Oil on canvas. 45x60 Signed and dated at the bottom right corner : D.Kakabadze 1924 Prov.: purchased from David Kakabadze in 1928. Tbilisi.

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vasili kandinski. 1861–1944 . Savi Strixi. 1920. tilo, zeTi. 57.5×72 marcxena, qveda kuTxeSi monograma da TariRi: K 20 suraTis zurgze: monograma warm.: gadmocemulia axali dasavluri xelovnebis saxelmwifo muzeumidan 1939 wels. moskovi, ruseTi

Vasili Kandinski. 1861-1944. Black Stroke. 1920. Oil on canvas. 57.5х72 Signed and dated at the bottom left corner : monogram K and 20 Monogram on the reverse side Prov.: passed from the State Museum of the New Western art in 1939. Moscow, Russia.

vasili kandinski. 1861–1944 . suraTi wriT. pirveli usagno. 1911. tilo, zeTi. 141.2×121.2 qveda, marcxena kuTxeSi TariRi da xelmowera: Kandinski 1911; suraTis zurgze warwera: Картина с кругом (1я безпредметная) 1911 warm.: gadmocemulia axali dasavluri xelovnebis saxelmwifo muzeumidan 1939 wels. moskovi, ruseTi Vasili Kandinski. 1861-1944. Picture with Circle. The First Nonobjective. 1911. Oil on canvas. 141.2х121.2 Signed and dated at the bottom left corner: Kandinski 1911; Inscription on the reverse side: Картина с кругом (1я безпредметная) 1911 Prov.: passed from the State Museum of the New Western art in 1939. Moscow, Russia.

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evgeni kibriki. 1906-1978. nayofiereba. 1926. tilo, zeTi. 152Ă&#x2014;132.5 warm.: gadmocemulia vuCetiCis saxelobis samxatvro-sawarmoo kombinatis, ssrk kulturis saministros fondsacavis mier 1979 wels. moskovi, ruseTi

Evgenie Kibrik. 1906-1978. Fertility. 1926. Oil on canvas. 152Ń&#x2026;132.5 Prov.: passed from the art-industrial enterprise of E.Vuchetich, from the funds of the ministry of culture of the USSR in 1979. Moscow, Russia.

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al. kruCionixi. 1886-1968. `coca~. moskovi. 1921. hektografia. 56×38 warm.: dimitri gordeevis arqivi. 1964. Tbilisi Alexander Kruchionikh. 1886-1968. Tsotsa. 1921. Moscow. Hectograpy. 56×38 Prov.: Archive of Dimitri Gordeev. 1964. Tbilisi

ucnobi avtori. kompozicia asoebiT. 1910-iani wlebi. qaRaldi, guaSi. 34.5×22/ kompozicia. 1910-iani wlebi. qaRaldi, guaSi. 34.5×22/ abstraqtuli kompozicia. 1918. gazeTis qaRaldi, guaSi. 69×54.5/ abstraqtuli kompozicia. 1918. gazeTis qaRaldi, guaSi. 69×54.5 warm.: dimitri gordeevis arqivi. 1964. Tbilisi Unknown artist. Composition with Letters. 1910s. . Gouache on paper. 34.5×22/ Composition. 1910s. Gouache on paper. 34.5×22/Abstract Composition. 1918. Gouache on newsprint. 69×54.5/ Abstract Composition. 1918. Gouache on newsprint. 69×54.5 / dimitri gordeevis arqivSi, inventarizaciis dros aRmoCenil saqaRaldeSi inaxeba akvarelisa da kolaJis teqnikiT Sesrulebuli grafikuli furclebi. ramdenime maTgani a. kruCionixis mier tfilisSi Seqmnili e.w. kavkasiuri periodis kolaJebis msgavsia. restavrator nino burdulis mier Catarebuli samuSaos Semdeg SesaZlebeli gaxda namuSevarTa eqsponireba. Dmitry Gordeev’s archive, in the folder, which had been found during inventory, the graphic sheets executed by techniques of water color and collage, similar to sketches and collages of so-called “Caucasian period”, which were executed by A.Kruchyonkh, are stored. Museum restaurateur Nino Burduli by the hard work made it possible to expose these graphics and collages. aleqsei kruCionixi (?) 1886-1968. kolaJi. 1910-iani wlebi. qaRaldi, feradi qaRaldi, foto, qsovili. 48×68.5 warm.: dimitri gordeevis arqivi. 1964. Tbilisi Alexander Kruchionikh (?) 1886-1968. Collage. 1910s. Paper, color paper, photograph, fabric. 48×68.5 Prov.: Archive of Dimitri Gordeev. 1964. Tbilisi

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kompozicia. 1910-iani wlebi. gazeTis qaRaldi, akvareli. 68×48/ kompozicia. 1910-iani wlebi. gazeTis qaRaldi, guaSi. 68×48 warm.: dimitri gordeevis arqivi. 1964. Tbilisi Composition with Letters. 1910s. Watercolor on newsprint. 68×48/ Composition with Letters. 1910s. Gouache on newsprint. 68×48 Prov.: Archive of Dimitri Gordeev. 1964. Tbilisi

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aleqsei kruConixi 1886-1968. kolaJi. 1910-iani wlebi. muyao, feradi qaRaldi, Spaleri, Ria baraTi (Ria baraTis ukana mxares mkafiod ikiTxeba adresatis warwera: Е. В. 8 / Алексею Елисеевичу Кручёных/ Управление постройки Эрзрумской ж.д./ Саракамышъ. Карской обл.). Alexander Kruchyonikh ? 1886-1968. Collage. 1910s. Cardboard, color paper, wallpaper, postcard. 29.5×38.3 (on the postcard underside is the inscription of the addressee, which is distinctly read: Е.В.8./ Алексею Елисеевичу Кручёных/ Управление постройки Эрзрумской ж.д/ Саракамышь. Карской обл.). Prov.: Archive of Dimitri Gordeev. 1964. Tbilisi

aleqsei kruCionixi ? 1886-1968. kolaJi. 1910-iani wlebi. qaRaldi, feradi qaRaldi, linograviura. 63.5×50 warm.: dimitri gordeevis arqivi. 1964. Tbilisi Alexander Kruchionikh ? 1886-1968. Collage. 1910s. Paper, color paper, linography. 63.5×50 Prov.: Archive of Dimitri Gordeev. 1964. Tbilisi

Кручёных А., Хлебников В. Игра в аду. Обложка и три рисунка К. Малевича. Остальные рисунки О. Розановой . 2-ое изд. Спб.: ЕУЫ. 1914. тираж-800 экз.

kruCionixi a., xlebnikovi v. `TamaSi jojoxeTSi~. yda da sami naxati k. maleviCisa. danarCeni naxatebi o. rozanovasi me-2 gamocema. sanktpeterburgi. stamba «ЕУЫ». 1914. 800 egz. kazimir maleviCi. 1879 - 1933. yda. liTografia. 17.5×12 / ilustracia - eSmakebi xerxaven codvil qals. liTografia. 11.5×17.4 / ydis zurgi. liTografia. 17.5×12 warm.: SeZenilia nikoloz qaSakaSvilisgan 1974 wels. Tbilisi Kruchyonikh А, Khlebnikov V. Game in a Hell-Igra v adu. A cover and three drawings by K.Malevich. The other drawings – by O.Rozanova. 2nd edition. Спб.: ЕУЫ. 1914. Edition: 800. Kazimir Malevich. 1879-1933. Cover. Lithograph. 17,5х12. / Illustration – Devils Saw the Guilty Woman. Lithograph .11,5х17,4 / Back cover. Lithograph. 17,5x12. Prov.: purchased from Nikoloz Kashakashvili in 1974. Tbilisi.

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mixeil larionovi. 1881 _ 1964. avtoportreti. Ria baraTi. 1912. liTografia, akvareli. 14.2×9.2. marjvena, zeda kuTxeSi warwera: Собственный портрет Ларионова warm.: SeZenilia nikoloz qaSakaSvilisgan 1974 wels. Tbilisi Michael Larionov. 1881-1964. Self-portrait. A postcard. 1912. Colored lithograph. 14.2х9.2. Inscription In the right top corner: Собственный портрет Ларионова Prov: purchased from Nikoloz Kashakashvili in 1974. Tbilisi.

mixeil larionovi. 1881 _ 1964. n. gonCarovas portreti. Ria baraTi. 1912. liTografia, akvareli. 14.1×9.4. marjvena, zeda kuTxeSi warwera: Портрет Наталии Гончаровой warm.: SeZenilia nikoloz qaSakaSvilisgan 1974 wels. Tbilisi Michael Larionov.1881-1964. N.Goncharova’s portrait. Postcard. 1912. Colored lithograph.14.1x9.4 Inscription in the right top corner : Портрет Наталии Гончаровой Prov: purchased from Nikoloz Kashakashvili in 1974. Tbilisi.

1912 wels, pirveli liTografiuli wignebis gamocemamde, al. kruCionixis iniciativiT, moskovSi, v. rixteris tipoliTografiul stambaSi, gamosces 35 Ria baraTi Zmeb m. da i. larionovebis, n. gonCarovas, al. SevCenkos, v. tatlinisa da i. rogovinis naxatebiT. gansakuTrebiT iSviaTi da faseulia zemodan avtorTa mier akvareliT daferili baraTebi. isini daibeWda Zalian mcire tiraJiT da dRes iSviaTi egzemplarebis saxiT daculia msoflios wamyvan muzeumebsa da kerZo koleqciebSi _ ruseTis saxelmwifo biblioTekaSi, saxelmwifo rusul (ruseTi), aseve viqtoriasa da albertis muzeumebSi (didi britaneTi), a. koJebatkinisa (ruseTi) da parizis kerZo koleqciebSi. Cvens muzeumSi daculi namuSevrebi maT ricxvs ganekuTvneba. In 1912, before the first edition of lithographic books, in Moscow, in V.Richter’s tipo-litograph publishing house, 35 postcards with drawings of brothers M. and I.Larionov, N.Goncharova, A. Shevchenko, V.Tatlin, and I.Rogovin were published. Especially rare and valuable is that the surface is covered by the authors in water color. They were printed by very small number of copies and, as a rarity, are stored in leading museums of the world and private collections – the State library of Russia, in the State Russian museum, also in the museums of Victoria and Albert (Great Britain), in private collections A.Kozhebatkin (Russia) and Paris. Among them there are the postcards, stored in our collection.

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mixeil larionovi. 1881-1964. personaJi speqtaklidan `samgloviaro marSi~. nawili III. `samgloviaro marSi memkvidreobis mqone deidis sikvdilis gamo~ (`samgloviaro marSi orkestriT~). proeqciuli kostiumis eskizi. 1916. qaRaldi, trafareti, akvareli. 44.5×28. marcxena, zeda kuTxeSi saavtoro xelmowera: Larionov. warm.: SeZenilia valentina kiriles asul zdaneviCisgan 1981 wels. Tbilisi gam.: gamofenaze eqsponirebulia pirvelad 1916 wels m. larionovma lord jerald bernersis musikaze Seqmna feradi Crdilebis speqtakli `samgloviaro marSi~ sam nawilad. speqtaklisTvis Seqmnili kostiumebi moZraobdnen masSi CamontaJebuli zambaris saSualebiT, qmnidnen moulodnel efeqtebs da waruSlel STabeWdilebas axdendnen. speqtakli ar ganxorcielebula. ramdenime kostiumis eskizi CarTuli iyo parizSi gamocemul “Pochoir”-is (naxati trafaretiT) albomSi: gonCarova, larionovi. Tanamedrove Teatris mxatvroba. parizi. 1916 (teqstis avtori valentin parnaxi). gamocemis tiraJi 515 egzemplari iyo. maTgan 100 Sesrulebuli iyo gansakuTrebul qaRaldze mxatvarTa xelmoweriT. Cvens koleqciaSi daculi namuSevari am asTagania.

Michael Larionov. 1881 1964. The character from the performance “Funeral March” Part III. “The Funeral March on the occasion of death of the aunt with the will”. Sketch of a projective suit. 1916. Pochoir (stencil). Water color on paper. 44.5x28. Inscription in the right top corner: Larionov. Prov: purchased from Valentina Kirillovna Zdanevich in 1981. Tbilisi.

Exposed for the first time. In 1916, M/Larionov, on music lord Bernard Berners, created three- part performance of color shades “Funeral March”. The suits, created for the performance,, moved by means of springs, built in them, creating unexpected effects and made indelible impression. The performance did not take place. Sketches of several suits were included in the album”Pochoir”, published in Paris (drawing by cliché): Goncharova, Larionov. Painting of modern theatre. Paris. 1916. Goncharova, Larionov. L’art decorative theatral moderne. Paris. 1916. (the author of the text – Valentine Parnah). Number of copies – 515. !00 copies were executed on special paper with the signature of the artists. The exhibit, stored in our collection is one of them.

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liCino osvaldi. iSviaTi frinveli. 1932. tilo, zeTi. 98Ă&#x2014;74 warm.: gadmocemulia moskovis dasavleTis xelovnebis muzeumidan 1939 wels gam.: gamofenaze eqsponirebulia pirvelad

Oswaldo Lichini. Rare Bird. 1932. Oil on canvas. 98Ń&#x2026;74. Prov.: passed from the State Museum of the New Western art in 1939. Moscow, Russia. Exposed for the first time.

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adolf milmani. 1886/88-1930. yirimis peizaJi. 1919. muyao, zeTi. 59×72 qveda, marcxena kuTxeSi xelmowera da TariRi: Мильманъ 1919 warm.: SeZenilia mxatvar l. zusmanis koleqciidan 1981 wels. moskovi, ruseTi

Adolf Milman. 1886x1930. Landscape of Crimea. 1919. Oil on cardboard. 59х72 Signed and dated at the bottom left corner: Мильманъ 1919 Prov.: purchased from the collection of artist L. Zusman in 1981. Moscow, Russia.

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kliment redko. 1897-1956. musikosebi. 1928. tilo, zeTi. 50Ă&#x2014;65 qveda, marjvena kuTxeSi xelmowera da TariRi: C. Redko 28 warm.: gadmocemulia e. vuCetiCis saxelobis samxatvro-sawarmoo kombinatis, ssrk kulturis saministros fondsacavidan 1979 wels. moskovi, ruseTi

Kliment Redko. 1897-1956. Musicians. 1928. Oil on canvas. 50Ń&#x2026;65 Signed and dated at the bottom right corner: C.Redko 28 Prov.: passed from the art-industrial enterprise of E.Vuchetich, from the funds of the ministry of culture of the USSR in 1979. Moscow, Russia.

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Кручёных А., Алягров Р (Роман Якобсон). Заумная гнига. Цветные гравюры О. Розановой. тип. И. Работнова. Москва. 1915-1916. 140 экз. kruCionixi a., aliagrovi r. (roman iakobsoni). Заумная гнига. o. rozanovas feradi graviurebi. i. rabotnovis tip-ia. moskovi. 1915-1916. 140 egz.

XX saukunis xelovnebaSi gansakuTrebiT popularul banqos simbolikas rozanovam pirvelad 10-iani wlebis dasawyisSi mimarTa. banqos simbolikaa rozanovas mier 1916 wels a. kruCionoxisa da r. aliagrovis poema «Заумная гнига»-Tvis Seqmnili ilustraciebis motivi. Cvens koleqciaSi daculia 5 amonabeWdi: warm.: SeZenilia n. qaSakaSvilisgan 1980 wels. Tbilisi olga rozanova. 1886-1918. ilustraciebi: oTxi tuzis erTdrouli gamosaxuleba. feradi linograviura. 18×14 / aguris valeti. feradi linograviura. 16×19 / yvavis qali. feradi linograviura. 16×20 / gulis qali. 16×20 / yvavis valeti. 16×20 Kruchyonikh А, Alagrov R (Roman Yakobson). The abstruse book-Zaumnaia kniga. O.Rozanova’s linoleum cut. I.Rabotnov’s printing house. Moscow. 1915-1916. Edition: 140. Prov.: purchased from Qashakashvili. 1980. Tbilisi. In the art of the ХХc O.Rozanova for the first time addressed to especially popular playing card symbolism in the early 10s. Motive to the illustrations, executed by O.Rozanova in 1916 for “The Abstruse book”, created by A.Kruchyonikh and R.Aljagrov, was the playing card symbolism. In our collection are stored five offprints. Olga Rozanova. 1886-1918. Illustrations. Playing Cards. – Simultaneous Image of Four Aces. Color linocut. 18х14/ Diamond Jack. Color linocut. 16x19/ Queen of Spades. Color linocut. 16x20/ Lack of Spades. Color linocut. /16x20Queen of Hearts. 16x20.

aleqsandre ServaSiZe. 1867-1968. banqo. gulis mefe. qaRaldi, akvareli. 38x24.5/ yvavis mefe. qaRaldi, akvareli. 37x26.5/jvris qali. qaRaldi, akvareli. 38x24.5/jokeri. qaRaldi, akvareli. 37x26.5. Alexander Shervashidze. 1867-1968. Playing Cards. King of Hearts. Water color on paper. 38×24.5/ Playing Cards. King of Spades. Water color on paper. 37×26.5/Queen of Clubs. Water color on paper. 38×24.5/Joker. Water color on paper. 38×24.5

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СТЕРИЛИЗОВАН. РЕВМЯ БРОДИТ ТѢЛО

ЧИТАТЬ В ЗДРАВОМ УМЕ ВОЗБРАНЯЮ!

Евген. Онѣгин в 2 строч. ЕНИ ВОНИ

КИШКАНИК , СЕ И ТСЯ, НА ДВОРЪ/ ПЬЕТ ПАРЫ

УКРАВШИЙ ВСЁ УКРАДЁТ И ЛОЖКУ НО НЕНАОБОРОТ

Кручёных А. Война. Слова А. Кручёных, Резьба О. Розановой. Типография т-ва газеты «Свет». Петроград. 1916. 16 л. 40×31. 100 экз. kruConixi a. omi. ilustracia - o. rozanova. gamomcemeli a. SemSurini. gazeT `svet~-is amxanagobis stamba. petroradi. 1916. 100 egzemliari warm.: SeZenilia n. qaSakaSvilisgan 1980 wels. Tbilisi olga rozanova 1886-1918. Падал грозою сундук/Камни взрывая как пух. 1916. linogravirebuli teqsti. 23×1 / Три сѣры надумали звѣри/Да сѣры их роги в берлоге/без вѣры. 1916. linogravirebuli teqsti. 23×16 / aeroplani qalaqis Tavze. 1916. linograviura. kolaJi. 23×16. dakargulia centralur nawilSi Sav-TeTri linograviura aeroplanisa da qalaqis gamosaxulebiT, marjvniv_Savi feris mrgvali diskos nawebi. / ilustracia - orTabrZola. 1916. linograviura. 23×16 rozanovam wignis gaformebisas linogravirebuli teqstis, ilustraciebisa da kolaJis teqnika gamoiyena. man Seqmna formiTa da koncefciiT originaluri da novatoruli wigni. mis Sesaxeb Tavad rozanova werda SemSurins: `Tumca Zalian mwvaved vgrZnob sakuTar naklovanebebs am wignebSi, uyoymanod SemiZlia vTqva, rom es aris saukeTeso, rac ki beWdur grafikaSi aqamde gamikeTebia. teqnikuradac Zlieria yvela wina namuSevarze, amasTanave, metad Sinaarsiani da TviTmyofadia~.

Kruchyonkh A. War-Voina. O.Rozanova’s linoleum cut and collage. Publisher: A. Shemshurin. Printing house of association of the newspaper “Svet”. Petrograd. 1916. Edition: 100. Prov.: purchased from N.Kashakashvili in 1980. Tbilisi. Olga Rozanova 1886-1918 Падал грозою сундук/ Камни взрывая как пух. 1916. Linocut text. 23х16 / Три сђры надумали звђри/ Да сђры их роги в берлоге/ без вђры. 1916. Linocut text. 23x16 / Illustration – Snatch. 1916. Linocut. 23x16. / Illustration –Airplane over the City. 1916. Collage. Paper, color paper, linocut. 23х16. The black-and-white linocut with the airplane and city image is lost in the centre, on the left – the black round disk is pasted. Designing the book, Rozanova used techniques of linocut, illustration and collage. By form and concept she created the original and innovative book. Rozanova wrote to Shemshurin so: in spite of the fact, that I sharply feel the imperfection of the book, I can undoubtedly tell, that it is the best of all I have made in printing graphic till now. Technically it is stronger than the former work, besides – more substantial and original.

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Режет влажную землю сошник Провода стиснул жирную стену Железо звенит железо свистит Дайте пожить и железу

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aleqsandre tiSleri. 1898-1981. kompozicia. 1930-iani wlebi. tilo, zeTi. 64.4×47.3 qveda, marcxena kuTxeSi xelmowera rusulad: А. Тышлер warm.: SeZenilia a. ivanovskis kerZo koleqciidan 1981 wels. moskovi, ruseTi

Alexander Tyshler. 1898-1981. Сomposition. 1930s. Oil on canvas. 64.4x47.3 Signed at the bottom left corner: А.Тышлер Prov.: purchased from the private collection A.Ivanovski in 1981. Moscow, Russia.

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robert falki. 1886-1958 qaRaldis yvavilebi. 1918 tilo, zeTi. 78×53 qveda, marjvena kuTxeSi iniciali: Ф. suraTis zurgze: Фальк «бумажные цветы 1918 г. warm.: SeZenilia mxatvris meuRlis, a. SCekin-krotovasgan, 1980 wels. moskovi, ruseTi Robert Falk. 1886-1958 Paper Flowers. 1918. Oil on canvas. 78х 53 Initial letter In the bottom right corner : F. Signed, named and dated on the reverse side of the picture: Фальк “бумажные цветы 1918 г.” Prov.: purchased from the artist’s wife, A.Shchekin-Krotova in 1980. Moscow, Russia.

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robert falki. 1886-1958. peizaJi. 1910-iani wlebi. tilo, zeTi. 99×65 warm.: SeZenilia mxatvris meuRlis, a. SCekin-krotovasagan, 1978 wels. moskovi, ruseTi. gamofenaze eqsponirebulia pirvelad. suraTi koleqciaSi daculi ferweruli namuSevris `dikensis personaJi~ (1937. tilo, zeTi. 116×73. zurgze Sesrulebuli kompoziciaa. wlebis ganmavlobaSi namuSevari nawilobriv dafaruli iyo jvaredini qveCarCoTi. specialurad gamofenisTvis muzeumis restavrator evelina karselis mier Catarebuli sarestavracio samuSaos Sedegad gaiwminda da srulad gamoCnda mxatvarTa gaerTianeba «Бубновый валет»-Si falkis moRvaweobisTvis tipuri namuSevari. Robert Falk. 1886-1958. Landscape. 1910s. Oil on canvas. 99x65 Prov.: purchased from the artist’s wife, A. Shchekin-Krotova in 1978. Moscow, Russia. Exposed for the first time The picture represents the composition, executed on the reverse side of the work, stored in our collection. During several years the work was partially covered by a checkered stretcher. As a result of the restoration works, held by restorer Evelyn Karsel, especially for the exhibition, the work was cleared and presented as the typical work of Falk in the association “Бубновый валет”.

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robert falki. 1886-1958. peizaJi gemiT. 1929. muyao, zeTi. 59×72 qveda, marjvena kuTxeSi xelmowera: Falk; qveda, marcxena kuTxeSi iniciali: Ф. suraTis qveCarCoze dakrulia a. SCekin-krotovas mier xelmowerili namuSevris originalobis damadasturebeli mowmoba (blanki). warm.: SeZenilia mxatvris meuRlis, a. SCekin-krotovasgan, 1980 wels. moskovi, ruseTi

Robert Falk. 1886-1958. Landscape with a Boat. 1929. Oil on cardboard. 59x72 Signed at the bottom right corner : Falk Initial letter at the bottom left corner : F. On the picture stretcher is pasted the certificate of A.ShChekin-Krotova, certifying originality of the work. Prov.: purchased from the artist’s wife, A.Shchekin-Krotova in 1978. Moscow, Russia.

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abra `РАСПИВОЧНО и НА ВЫНОСЪ~. spilenZi, zeTi. 57x104 warm.: SeZenilia al. leoniZisgan 1930 wels. Tbilisi

Niko Pirosmani. 1862-1918. Shop sign “Распивочно и на вынос”. Oil on Copper. 57x104 Prov.: purchased from Al. Leonidze in 1930. Tbilisi.

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niko firosmani 1862-1918. gogona wiTeli airbuStiT muyao, zeTi. 65Ă&#x2014;41 warm.: SeZenilia r. miqaZisgan 1934 wels. Tbilisi

Niko Pirosmani. 1862-1918 Girl with Red air balloon Cardboard, oil. 65Ń&#x2026;41. Prov.: purchased from R.Miqadze. 1934. Tbilisi.

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niko firosmani (firosmanaSvili). 1862-1918. muSa kasriT. muSamba, zeTi. 60Ă&#x2014;38 warm.: SeZenilia TevzaZe-gurgenbekovasgan 1962 wels. Tbilisi

Niko Pirosmani (Pirosmanashvili) 1862-1918. Worker with Barrel. Oil on oilcloth. 60Ń&#x2026;38. Prov.: purchased from Tevzadze-Gurgenbekova. 1962. Tbilisi.

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Salva qiqoZe. 1894-1921. parizi. 1921. tilo, zeTi. 55×44 suraTis zurgze warwera: `parizi~. S. qiqoZe. parizi. 1921 11 III warm.: SeZenilia ana qiqoZisgan 1956 wels. Tbilisi Shalva Kikodze. 1894-1921. Paris. 1921. Oil on canvas. 55x44 Signed, named and dated on the reverse side of the picture:”parizi”. S. qiqoZe. Pparizi. 1921 11 111 Prov.: purchased from Ana Kikodze in 1956. Tbilisi.

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Salva qiqoZe. 1894-1921. aWara. 1921. tilo, zeTi. 55×46 sm qveda, marjvena kuTxeSi xelmowera: Ch. Kikodze. suraTis zurgze warwera: `aWara~. S. qiqoZe parizi. 1921 19 III warm.: xelovnebis muzeumi metexi. 1937 Shalva Kikodze. 1894-1921. Achara. 1921. Oil on canvas. 55x46 Signed at the bottom right corner: Ch. Kikodze. Signed, named and dated on the reverse side of the picture:”aWara”. S.QqiqoZe. parizi. 1921 19 111 Prov.: Art Museum Metekhi. Tbilisi. 1937

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Salva qiqoZe 1894-1921. jvriswera III. seriidan `tikinebis cxovreba~. 1920. tilo, zeTi. 54×46 suraTis zurgze warwera: tikinebis cxovrebidan. III jvaris wera. parizi. 1920 27 IX S. qiqoZe. warm.: SeZenilia ana qiqoZisgan 1956 wels. Tbilisi Salva qiqoZe. 1894-1921. pirveli Sexvedra. seriidan `tikinebis cxovreba~. 1920. tilo, zeTi. 56×46. suraTis zurgze warwera: tikinebis cxovrebidan. I Sexvedra. S. qiqoZe. q. parizi. 1920 16 IX warm.: SeZenilia ana qiqoZisgan 1956 wels. Tbilisi Salva qiqoZe. 1894-1921. kocna II. seriidan `tikinebis cxovreba~. 1920. tilo, zeTi. 54×46 qveda, marjvena kuTxeSi laTinuri SriftiT: Kikodze suraTis zurgze warwera: tikinebis cxovrebidan. II kocna. S. qiqoZe. q. parizi. 1920 28 IX warm.: SeZenilia ana qiqoZisgan 1956 wels. Tbilisi

Shalva Kikodze. 1894-1921. The first meeting From the series “Dolls’Life”(tikinebis cxovreba). 1920. Oil on canvas. 54x46 Signed, named and dated on the reverse side of the picture:: tikinebis cxovrebidan. I Sexvedra. S. qiqoZe. qQ.parizi. 1920 16 IX. Prov.: purchased from Ana Kikodze in 1956. Tbilisi. Shalva Kikodze. 1894-1921. Kiss II. From the series “Dolls’Life” (tikinebis cxovreba). 1920. Oil on canvas. 54x46 Signed at the bottom right corner: Kikosze. Signed, named and dated on the reverse side of the picture:tikinebis cxovrebidan. II kocna. S.QqiqoZe. q.parizi. 1920 28 IX Prov.: purchased from Ana Kikodze in 1956. Tbilisi. Shalva Kikodze. 1894-1921. Wedding ceremony III. From the series “Dolls’Life”(tikinebis cxovreba). 1920. Oil on canvas. 54x46 Signed, named and dated on the reverse side of the picture: tikinebis cxovrebidan.111. jvris wera. parizi. 1920 27 IX S. qiqoZe. Prov.: purchased from Ana Kikodze in 1956. Tbilisi.

ervand qoCari. 1899-1979. saparikmaxero. 1910-iani wlebis dasasruli. tilo, zeTi. 24Ă&#x2014;23.9 warm.: SeZenilia n. mikirtiCian-qoCarisgan 1980 wels. Tbilisi

Ervand Qochar. 1899-1979. Hairdressing Salon. Late 1910s. Oil on canvas. 24x39 Prov.: purchased from N.Mkrtchjan-Qochar in 1980. Tbilisi.

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aleqsandre SevCenko. 1883-1948. kviradRe (Cistie prudi). muyao, zeTi. 53×51 qveda, marjvena kuTxeSi xelmowera: А. Шевченко. suraTis zurgze, ramdenime adgilas, feradi fanqriT warwera: Чистые пруды. warm.: SeZenilia mxatvris qaliSvilis, t. SevCenkos, koleqciidan 1982 wels. moskovi, ruseTi

Alexander Shevchenko. 1883-1948. Wine Cellar. 1929-1930. Oil on cardboard. 50х37.5 On the back part of the picture is pasted the certificate with the inscription of the Moscow firm trading in paints and brushes. The certificate says: “Rafael and Ал.Вас.Шевченко 1929-1930 г. Собственность В.В.Т.Битилова. Винный погреб. Prov.: purchased from the artist’s daughter T.Shevchenko’s collection in 1982. Moscow, Russia

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aleqsandre SevCenko. 1883-1948. Rvinis sardafi. 1929-1930. muyao, zeTi. 50×37.5 suraTis zurgze dakrulia saRebavebiTa da funjebiT movaWre moskovis firmis sertifikati warweriT: „Rafael da Ал. Вас. Шевченко 1929-1930 г. Собственность В. В. Т. Битилова. Винный погреб warm.: SeZenilia mxatvris qaliSvilis, t. SevCenkos koleqciidan 1982 wels. moskovi, ruseTi

Alexander Shevchenko. 1883-1948. Sunday. (Chistie Prudi ). Oil on cardboard. 53х51. Signed at the bottom right corner: А.Шевченко. On the picture reverse side, in several places, is the inscription in color pencil: Чистые пруды Prov.: purchased from the artist’s daughter T. Shevchenko’s collection in 1982. Moscow, Russia.

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vasil Suxaevi. sakvamle mili da samarile 1921. tilo, zeTi. 92×72 qvemoT, marjvniv warwera: Coukhaeff 1921 warm.: usasyidlod gadmocemulia mxatvris qvrivis, v. T. Suxaevas, mier 1976 wels. Tbilisi vasil Suxaevis Semoqmedeba naklebad miesadageba avangardul xelovnebas. piriqiT, al. iakovlevTan, n. altmansa da z. serebriakovasTan erTad, igi rusul xelovnebaSi radikalurad sapirispiro mimdinareobisneoklasicizmis erT-erTi sulisCamdgmelia. Tumca klasikuri xelovnebis apologeti Suxaevic ki cota xniT gaitaca avangardulma eqsperimentulobam da formis novaciisken swrafvam. am tipis namuSevari mxatvris SemoqmedebiT memkvidreobaSi Zalze iSviaTia da amitomac gadavwyviteT eqspoziciaSi misi warmodgena. Vasily Shukhaev. The Chimney and a Saltcellar. 1921. Oil on Сanvas. 92х72 Signed below, to the right: Coukhaeff 1921 Prov.: Gratuitously passed by the spouse of the artist V.T.Shuhaeva in 1976. Tbilisi. Vasil Shukhaev’s creativity approaches to avant-garde art very little. On the contrary, together with Alexander Jakovlev, N.Altman and Z.Serebrjakova, it is one of the inspirers of considerably opposite direction in Russian art - neoclassicism. Though, the apologist of classical art too was inspired for a while by avant-garde experimentation and aspiration to a form innovation. The work of such type in the artist’s creativity is a rarity and consequently we have decided to place it in the exposition.

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mixeil (miSa) bilaniSvili. 1901. Tbilisi, saqarTvelo _ 1934. parizi, safrangeTi fermweri, grafikosi, ilustratori m. bilaniSvili swavlobda Tbilisis vaJTa gimnaziaSi. 1918 wels monawileobda saqarTvelos damoukideblobisaTvis brZolaSi. 1923 wels Caabara Tbilisis saxelmwifo samxatvro akademiaSi, mecadineobda jer g. gabaSvilis klasSi, Semdeg _ i. nikolaZesa da e. lanseresTan. akademiis dasrulebis Semdeg xatvas aswavlida vaJTa gimnaziaSi. 1924 wels parizSi gaemgzavra da swavla daiwyo lotis samxatvro skolaSi. 1927 wels d. kakabaZesa da e. axvledianTan erTad monawileobda “Les Indépendants”-is 38-e gamofenaSi. 1929 wlidan aqtiurad muSaobda grafikuli dizainis dargSi. 1929 wels gaaforma parizSi gamocemuli qarTuli Jurnal `kavkasionis~ #1-2 garekani, 1930-ian wlebSi ki_safrangeTSi qarTveli emigrantebis gazeTi `TeTri giorgi~. Jurnal `kavkasionSi~ gamoqveynda misi werili `xelovnebis principebi da niko firosmanaSvili~. bilaniSvilis ori ferweruli namuSevari parizis valentines qarTul samkiTxveloSi iyo gamofenili. 1933 wels parizis kulturisa da xelovnebis qalTa sazogadoebam SeiZina misi erTi ferweruli peizaJi. m. bilaniSvilis mxatvruli memkvidreobis mxolod mcire nawilia cnobili da isic sxvadasxva koleqciaSia gafantuli. RambaraSvilis portreti mxatvris avangarduli stiliT Sesrulebuli erTaderTi namuSevaria. Michael (Misha) Bilanishvili. 1901. Tbilisi, Georgia – 1934. Paris, France Painter, graphic-artist, illustrator M.Bilanishvili studied in the Tbilisi man’s gymnasium. In 1918 he participated in struggle for independence of Georgia. In 1923 he began to study in the Tbilisi State Academy of Arts, studied at first in G.Gabashvili’s class, then – in J.Nikoladze and E.Lansere’s class. After graduating the Academy he worked as a teacher in the men’s gymnasium. In 1924 he left for Paris and started to learn at Lot’s art school. In 1927, together with D.Kakabadze and E.Ahvlediani, he took part in 38th exhibition “Les Indèpendants”. From 1929 he actively worked in the sphere of graphic design. In 1929 he designed the cover of the magazine “Кавкасиони” №1-2, published in Paris, аnd in 1930 – the newspaper of the Georgian emigrants in France “Тетри Гиорги”. In the magazine “Кавкасиони” his article “Principles of art and Niko Pirosmanashvili” was published. Two works of Bilanishvili were exhibited at Parisian- Georgian library Valentine. In 1933 sorority of culture and art of Paris purchased one of his pictures- “Landscape”.

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vladimer (voldemar) bobermani. 1897. erevani, somxeTi _ 1987. ibica, espaneTi fermweri, monumentalisti, scenografi vladimer bobermani 1914 wlamde swavlobda moskovSi, i. maSkovis ferwerisa da naxatis studiaSi. gatacebuli iyo impresionistebis_ pol sezanisa da anri matisis SemoqmedebiT. 1914 wels mobilizebul iqna da msaxurobda rostovis qveiTTa polkSi. 1918 wels kievSi cxovrobda da mcire xniT adolf milmanis saxelosnoSi muSaobda. imogzaura yirimsa da kavkasiaSi. 1919-1920 wlebSi Tavis dis meuRlesTan, mxatvar grigol SiltianTan, erTad TbilisSi Camovida, sadac, ojaxTan erTad, erTi weli cxovrobda. megobrobda am dros TbilisSi mcxovreb vasil kamenskisTan, reJisor nikoloz evreinovTan. monawileobda TbilisSi mowyobil mxatvarTaA gamofenebSi. xatavda kubo-futuristuli stiliT. 1920 wels ojaxTan erTad baTumidan konstantinopolSi, xolo iqidan parizSi gaemgzavra. imave wels sacxovreblad dafuZnda italiaSi. SemoqmedebiTi da megobruli urTierToba hqonda mxatvrebTan_filip goziasonsa da l. zakTan. 1923 wels berlinSi gaemgzavra, sadac f. goziasonTan, l. zaksa da p. CeliSCevTan erTad daaarsa studia. maTTan erTad muSaobda b. g. romanovis sabaleto dasis_«Русский романтический театр» speqtaklebis dekoraciebze. moxata berlinis ramdenime kafe. 1923 wlis bolos sacxovreblad gadavida parizSi da safrangeTis moqalaqeoba miiRo. muSaobda dekoratiuli xelovnebis dargSi. asrulebda eskizebs gobelenebisa da qsovilebisTvis. 1920-ian wlebis bolos monawileobda rambuies sasaxlis moxatvaSi. bobermani iyo II msoflio omis monawile da safrangeTis winaaRmdegobis grenoblis jgufis wevri. 1925 wlidan aqtiurad monawileobda gamofenebSi. bobermanis gamofenaze eqsponirebuli namuSevrebis stilistika frangulma modernistulma xelovnebam da a. milmanTan TanamSromlobam gansazRvra. `bubnovi valetis~ mxatvarTa msgavsad, isic kubizmisa da sezanizmis mxatvrulsaxeobrivi elementebis Serwymas Seecada. vizualuri samyaros cnobadi xatis farglebSi bobermani mxatvruli transformirebisa da formis pirobiTobis sakmaod saintereso interpretaciebs gvTavazobs. Tumca, 1919 wlis tfilisis gamofenaze eqsponirebulma namuSevrebma kritikosTa araerTgvarovani Sefaseba daimsaxura.

Vladimir (Voldemar) Bobermann. 1897. Yerevan, Armenia – 1987. Ibiza, Spain Painter, muralist, scenographer Vladimir Boberman till 1914 studied in Moscow, in Mashkov studio of painting and drawing. He was keen on creativity of impressionists – Paul Cezanne and Henry Matisse. In 1914 he was called in army and served in the Rostov pedestrian regiment. In 1918 he lived in Kiev and some time worked in Adolf Milman’s workshop. He traveled to Crimea and Caucasus. In 1919-1920 together with the husband of his sister Grigol Shiltiani arrived to Tbilisi, where lived one year together with the family. He was on friendly terms with living at that time in Tbilisi Vasili Kamensky and producer Nicolay Evrejnov. Boberman participated in exhibitions of the artists organized in Tbilisi. He drew cubo- futuristic style. In 1920 he, together with the family, from Batumi left for Constantinople, and then - he left for Paris. The same year he settled down in Italy. He was in friendly relations with artists – Philipp Gozjanson and L. Zak. In 1923 he left for Berlin where together with F.Gozjanson, L.Zak and P.Chelishchev founded a studio. He, together with them, worked over scenery of performances of ballet troupe – “Russian romantic theatre” of B.G.Romanov. He covered with drawings several cafes in Berlin. In 1923 he moved to live to Paris and acquired citizenship of France. He worked in the sphere of decorative art; carried out sketches for gobelins and fabrics. In the late twenties he participated in painting of Ramboillet palace. Bobermann was the participant of the Second World War and a member of group of the French resistance of Grenoble. From 1925 he actively participated in exhibitions.

lev bruni. 1894. sof. aleqseevka, ruseTi _ 1948. moskovi, ruseTi fermweri, grafikosi, ilustratori, fermwer-monumentalisti, pedagogi brunis uZvelesi da umdidresi gvari B italiuri renesansis xanidanaa cnobili. lev brunis winapari, antonio barofi bruni, napoleonis mier idevneboda da ruseTSi dasaxlda. l. brunis mWidro naTesauri kavSiri hqonda mamis mxridan brunebis arqiteqtorTa gvarisa da dedis mxridan rusi_akvarelistebis sokolovebis dinastiasTan. sul mcire asakidan ukve gacnobierebuli hqonda mxatvrobisadmi sakuTari miswrafeba. 19031908 wlebSi ZmasTan erTad swavlobda teniSCevis saswavlebelSi. 1910-1911 wlebSi peterburgis samxatvro akademiis cionglinskis saxelosnos Tavisufali msmenelia. 1912-1913 wlebSi parizSi gaemgzavra da mcire xniT Julienis akademiaSi swavlobda. parizSi gaicno momavali meuRle nina balmonti. ruseTSi Camosvlis Semdeg Cairicxa samxatvro akademiaSi, nikoloz samokiSis bataluri ferweris klasSi, Tavisufal msmenelad. aq gaicno momavali megobari da Tanamoazre pavle mituriCi.

1914-1915 wlebSi aqtiur SemoqmedebiT moRvaweobas eweoda. Seasrula ilustraciebi m. lermontovisa da n. gumiliovis wignebisaTvis. k. balmontis gavleniT SoTa rusTavelis poema `vefxistyaosniT~ gatacebulma brunim Seqmna ilustraciebi poemisTvis, romlebic 1915 wels «Мир искусства»-s gamofenaze iyo warmodgenili. akvareliT Sesrulebuli namuSevrebis feris dekoratiuloba da formaTa pirobiToba primitivizmisa da fovizmis gavlenaze miuTiTebs. 1915 wels mogzaurobis didad moyvaruli bruni, k. balmontis rCeviT, xevsureTSi gaemgzavra, sadac ramdenime Tve cxovrobda. man Seqmna grafikuli seria `mogonebebi xevsureTze~, romelSic klasikuri xelovnebis elementebi SeTanxmebulia eqsperimentulobasTan. n. balmont-brunis mogonebebSi aRwerilia saintereso faqti: mwyemsebis saSualebiT brunis xevsureTSi stumroba gaugia vaJa-fSavelas da maTive daxmarebiT gadaucia mxatvarTan stumrobis survili, magram, samwuxarod, es Sexvedra ver Semdgara. 1915 wels peterburgSi, brunis saxelosnoSi, Camoyalibda avangarduli gaerTianeba «Сообщество квартиры №5»-s, romelic aerTianebda peterburgis avangardis mowinave da aqtiur warmomadgenlebs. 1916 wels bruni nikoloz puninisa da vladimer tatlinis avangardul jguf `maRaziis~_«Магазин» wevria. maTTan megobrobam didi gavlena moaxdina brunis mxatvruli xedvisa da Semoqmedebis formirebaze. tatlinis uSualo meTvalyureobiT man ramdenime kontreliefi Seqmna. 1917 wels bruni tatlinTan erTad mcire xniT gaerTianebebis «Свобода искусству»-sa da «Союз молодёжи»-is wevri iyo. muSaobda v. xlebnikovis piesa-`sikvdilis Secdoma~_«Ошибка смерти»-is scenografiaze. Tebervlis revoluciis Semdeg, 1918-1920 wlebSi, bruni sacxovreblad cimbirSi gadavida. muSaobda admiral kolCakis StabSi mxatvar-gamformeblad. omskis gazeTSi gamoaqveyna saprogramo statia «О прописной морали» (1919). bruni fiqrobda Tanamedrove universaluri xelovnebis stilis Seqmnaze. 1920 wels is ojaxTan erTad peterburgSi dabrunda. igi exmareboda tatlins III internacionalis monumentze muSaobisas. 1921 wels bruni, mituriCi da tatlini muSaobdnen yofiT cxovrebaSi xelovnebis gamoyenebis meTodis SesamuSaveblad. am ideebis zegavleniT bruni fiqrobda `xelovnebis mwyemsTa komuna~_«Комунна пастырей искусства»-is Seqmnaze. 1920-iani wlebis meore naxevridan mxatvari realisturi xelovnebis stiliT muSaobs. 1935 wlidan aqtiur saganmanaTleblo saqmianobas eweoda. 1920-1930-ian wlebSi aswavlida umaRles samxatvro teqnikur institutSi (ВХУТЕМАС//ВХУТЕИН). 1935-1948 wlebSi daaarsa da xelmZRvanelobda monumenturi ferweris saxelosnos.

Lev Bruni. 1894. Village Alekseyevka, Russia – 1948. Moscow, Russia Painter, graphic-artist, illustrator, painter-sculptor of monuments, teacher The most ancient and rich surname Bruni is known since the period of the Italian Renaissance. Lev Bruni’s ancestor, Antonio Barof Bruni, was persuaded by Napoleon and, consequently, settled in Russia. Lev Bruni had close related contacts from the father’s side with the family of architects Bruni and from mother’ side with the dynasty of the Sokolov – Russian aquarellists. Already from early age he realized the aspiration to drawing. In 1903-1908 he, together with his brother,

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studied at Tenishchev School. In 1910-1911 he was a free listener in workshop of Tsionglinsk of the Petersburg Art Academy. In 1912-1913 he left for Paris and some time studied in Zhuljen academy. In Paris he got acquainted with his future wife Nina Balmont. After arrival to Russia he began to study as a free listener in the Academy of arts in the class of a battle-piece painting of Nicolay Samokish. There he got acquainted with the future friend and adherent Paul Miturich. In 1914-1915 he carried on an active creative activity. He executed illustrations to books of M.Lermontov and N.Gumilyov. Under the influence of K.Balmont, Bruni, fascinated by the poem “The Knight in Panther Skin” by Sh.Rustaveli, created illustrations to the poem, which were exposed at the exhibition “Мир искусства“. Decorative effect of color and conditionality of forms specifies in primitiveness and fauvism influence. In 1915 Bruni, the amateur of travel, according to the advice of K.Balmont, went in Khevsureti, where he lived some months. There he created a graphic series “Memoirs about Khevsureti” where classical art elements are co-coordinated with experimentation. In memoirs of N.Balmont-Bruni, the interesting fact is described: Vazha-Pshavela learnt about the visit of Bruni in Khevsureti from shepherds and with their help he asked him for meeting , but, unfortunately, this meeting did not take place. In 1915 in Petersburg, in Bruni’s workshop, the avant-garde community “Community of apartment №5”, was created, which united active and advanced representatives of the Petersburg avant-garde. In 1916 Bruni became a member of avant-garde group “Shop” of Nicolay Punin and Vladimir Tatlin. The friendship with them had a great influence on art vision and formation of Bruni’s creativity. In 1917 Bruni, together with Tatlin, was a member of communities “Свобода искусству” and “Союз молодёжи”. He worked over scenography of the play of V.Hlebnikov “Ошибка смерти”. After February revolution, in 1918-1920, Bruni moved to live to Siberia. He worked in a staff of Admiral Kolchak as the artist-decorator. In the Omsk newspaper he published the article “О прописной морали “(1919). Bruni thought of creation of modern universal style of art. In 1920 he together with the family returned to Petersburg. He helped Tatlin with the work on the monument of the third International. In 1921 Bruni, Miturich and Tatlin worked over creation of a method how to use art in life. Under the influence of these ideas Bruni thought of creation of society “Коммуна пастырей Искусства”. From the second half of the 1920s the artist worked in style of realistic art. From 1935 he conducted active educational work. In 19201930 he worked as a teacher at the Higher Art Technical Institute (ВХУТЕМАС/ ВХУТЕИН). In 1935-1948 he founded and guided the workshop of monumental painting.

natalia gonCarova. 1888. sof. nagaevo, ruseTi _ 1962. parizi, safrangeTi fermweri, grafikosi, ilustratori, Teatris mxatvari, pedagogi n. gonCarova didgvarovanTa ojaxSi daibada. misi mama, arqiteqtori da maTematikosi, aleqsandre puSkinis meuRlis, natalia gonCarovas, STamomavali iyo. bavSvoba natalia gonCarovam mamiseul mamulebSi _ ladiJinoSi, nagaevosa da sof. luJniSi gaatara. 1891 wels ojaxi sacxovreblad moskovSi gadavida da male mamis daproe-

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qtebul saxlSi dasaxlda. 1898 wels man daamTavra IV qalTa gimnazia. 1901 wels Tavisufal msmenelad Cairicxa moskovis ferweris, qandakebisa da xuroTmoZRvrebis saswavlebelSi, cnobili impresionisti moqandakis_p. trubeckois klasSi. saswavlebelSi gaicno m. Llarionovi, momavali meuRle da Tanamoazre. 1901-1903 wlebSi swavlobda qandakebas. 1903 wlis zafxulSi larionovTan erTad imogzaura tiraspolsa da yirimSi. 1904 wels mcire vercxlis medali aiRo animalisturi Janris qandakebisTvis, magram misi interesi qandakebisadmi Seicvala ferweriT gatacebiT, rasac didad Seuwyo xeli larionovmac. gonCarova mcire xniT swavlobda k. korovinis klasSi, magram mecadineoba male Sewyvita da damoukideblad ganagrZo muSaoba. gonCarovaze didi gavlena anri de tuloz-lotrekis xelovnebam moaxdina. Semoqmedebis am etapze misi gataceba pastelis teqnikiT da mxatvrul saxeTa groteskuloba swored frangi mxatvris gavleniTaa inspirirebuli. sakuTari mxatvruli enis Ziebis gzaze gonCarovas interesTa sfero mravalferovnebiT xasiaTdeba, magram am periodis namuSevrebs, umetesad, gamoarCevs dekorativizmi da ornamentalizmi. 1906 wels gonCarova diagilevis miwveviT larionovTan erTad parizSi gaemgzavra. fovizmiTa da gogenis xelovnebiT gatacebam STagoneba misca mis SemoqmedebaSi e. w. glexur cikls. gonCarovas mxatvruli Ziebebis umTavresi etapi 1909-1911 wlebSi neoprimitivizmi iyo. sxvadasxva drois gatacebebis_franguli fovizmis, xalxuri xelovnebisa (metadre, qvis warmarTuli `babebis~, saritualo warmodgenebisa da cekvebis) da Sua saukuneebis rusuli xatweris stiluri Taviseburebani mxatvris Zlieri individualuri sawyisis niadagze kristalizdeba da erTiani stilis sazRvrebSi sinTezirdeba. amave stilistikaSi isaxeba gonCarovas religiuri cikli. 1910 wels Tavisufali esTetikis sazogadoebaSi gaimarTa gonCarovas erTdRiani personaluri gamofena. aq gamofenili namuSevrisTvis `menature (lurj fonze)~ mas brali dasdes pornografiaSi, magram male sasamarTlos gadawyvetilebiT gaamarTles. 1908-1911 wlebSi gonCarova kerZo gakveTilebs atarebda i. maSkovis ferwerisa da naxatis studiaSi. 1910 wels larionovTan erTad monawileobda «Бубновый валет»-is gamofenis organizebaSi. 1911 wels konCalovskisa da sxva mxatvrebTan uTanxmoebis gamo gonCarovam larionovTan erTad datova gaerTianeba da monawileoba miiRo larionovis mier organizebul gamofenebSi «Ослиный хвост», «Мишень» da «№4. Футуристы, лучисты, примитив». 1912 wels gonCarovam daiwyo futuristuli wignebis dasuraTeba da Seqmna gansakuTrebuli eqspresiulobisa da gamomsaxvelobis mqone nimuSebi - a. kruCionixisa da v. xlebnikovis «Игра в аду», «Две поэмы. Пустынники пустынница». ilustraciebis garda, gonCarovam wignebisTvis liTografirebuli teqstic Seasrula. 1912 wels gonCarovam monawileoba miiRo larionovis mier organizebul aqciaSi_moskovis quCebSi saxemoxatuli futuristi mxatvrebis epataJur seirnobaSi. 1914 wels larionovsa da kinooperator v. kasianovTan erTad gadaiRo filmi `drama futuristul kabare #15-Si~. 1913 wels daibeWda pirveli monografia gonCarovasa da larionovis Sesaxeb, romlis avtori ilia zdaneviCi iyo. amave wlis noemberSi iliam waikiTxa moxseneba gonCarovas Semoqmedebis Sesaxeb da misi xelovneba «Всёчество»-s poziciidan ganixila. 1914 wels gonCarovas larionovTan erTad diagilevma Teatralur an-

treprizaSi monawileoba SesTavaza da isini parizSi gaemgzavrnen. warmatebiT Caiara parizSi, pol giiomis galereaSi, mowyobilma m. larionovisa da n. gonCarovas namuSevrebis gamofenam. pirveli msoflio omis dawyebis Semdeg gonCarova mcire xniT moskovSi dabrunda, muSaobda kamerul TeatrSi a. tairovTan da gamosca liTografiebis albomi «Мистические образы войны». 1915 wels diagilevma larionovi da gonCarova `rusul sezonebSi~ mudmivi TanamSromlobisTvis miiwvia. evropis sxvadasxva qveyanaSi muSaobis Semdeg gonCarova larionovTan erTad 1917 wels parizSi dasaxlda. misi moRvaweobis ZiriTadi sfero Teatri gaxda. muSaobda wignis grafikaSi. 1920-ian wlebSi monawileobda parizSi rus mxatvarTa kavSiris dasaxmarebeli saqvelmoqmedi mejlisebis organizebasa da mxatvrul gaformebaSi. igi iyo afiSis, mosawvevis, kostiumebisa da ritualuri niRbebis avtori. 1948 wels parizSi moewyo m. larionovisa da n. gonCarovas luCisturi namuSevrebis gamofena. 1950-ian wlebSi Seqmna naturmortebis seria. 1957 wels monte-karloSi gaaforma m. fokinis gardacvalebis 15 wlisTavisadmi miZRvnili festivali. gonCarovas gardacvalebis Semdeg misi namuSevrebis didi nawili ruseTs gadaeca. Natalia Goncharovа. 1888. Village Nagaevo, Russia – 1962. Paris, France. Painter, graphic-artist, illustrator, artist of theatre, teacher N.Goncharova was born in the noble family. Her father, the architect and mathematician, was offspring of Natalia Goncharova, Alexander Pushkin’s wife. Natalia Goncharova spent the childhood in manors of her father – Ladizhino, Nagaevo and village Luzhnyj. In 1891 the family moved to live to Moscow and soon settled in the house, the designer of which was her father. In 1898 she finished IV girls’ grammar school. In 1901 she was accepted as a free listener in the Moscow school of painting, sculpture and architecture, in the class of the known impressionist sculptor P.Trubetskoj. At school she got acquainted with M.Larionov, the future spouse and adherent. In 1901-1903 she studied sculpture. In the summer of 1903, together with Larionov, she traveled in Tiraspol and Crimea. In 1904 she received a small silver medal for a sculpture of animalistic genre, but her interest to sculpture was replaced by ardor for painting and Larionov helped her too much. Goncharova some time studied in K.Korovin’s class, but soon stopped studying and continued to work independently. Creativity of Henry de Toulouse-Lautrec had great influence on Goncharova. At this stage of her creativity her ardor for techniques of pastel and grotesqueness of art persons was inspired just by influence of this French artist. On the way of searching of her art language, Gorchakov’s sphere of interests was characterized by many-sided nature, but the majority of her works of this period differ with its decorativeness and ornamentality. In 1906 under Diaghilev’s invitation Goncharova, together with Larionov, left for Paris. The ardor for fauvism and Gauguin gave the basis in her creativity to the so called Country cycle. The pivotal stage of Goncharova’s art searches in 1909-1911 was neoprimitiveness .In 1910 in the society of independent aesthetics Goncharova’s one-day personal exhibition was organized. Because of the work “Model” (on blue background), exposed at this exhibition, she was accused of pornography, but soon, under the court decision, she was justified. In 1908-1911 Goncharova conducted private lessons in I.Mashkov painting and drawing studio. In 1910 together with Larionov took part in the organization of the exhibition “Бубновый валет”. In 1911, because of disagreements with Konchalovsky and other artists, Goncharova together with

Larionov left the community and took part in the organized by Larionov exhibitions:”Ослиный хвост”, “Мишень”и “№4.Футуристы, лучисты, примитив”. In 1912 Goncharova started to illustrate futuristic books and created the samples, having expressiveness – “Game in the hell” (Игра в аду), “Two poems. Anchorites” (Две поэмы Пустынники пустынница) by A.Kruchyonyh and V.Hlebnikov. Besides illustrations, Goncharova executed also the lithographic text for books. In 1912 Goncharova took part in the action, organized by Larionov – in scandalous walking of futurist-artists with the ornamented faces in Moscow streets. In 1914 she, together with Larionov and the cameraman V.Kasyanov shot the film “Drama in futuristic cafe №15 “(Драма в футуристическом кафе №15). The first monography of Goncharova and Larionov was printed in1913, the author of which was Ilja Zdanevich. In November of the same year Ilja read the report on Goncharova’s creativity and considered her art from the position of ”Всёчество”. In 1914 Dyagilev suggested Goncharova and Larionov to participate in theatrical enterprise and they left t for Paris. The exhibition of M.Larionov and N.Goncharova’s works, arranged in Paris, in Poll Guillaume’s gallery, had a great success. After the beginning of the First World War Goncharova returned to Moscow for some time, worked at the chamber theatre at A.Tairov and published a lithographic album”Мистические образы войны”. In 1915 Dyagilev invited Larionov and Goncharova for permanent co-operation in “Russian seasons”. Having worked in different countries of Europe, Goncharova with Larionov in 1917 settled down in Paris. Theatre became the basic sphere of her activity. She also worked in book graphics. In 1920s she took part in decorating and organization of charity balls in Paris for the assistance to the union of Russian artists. She was the author of posters, invitation cards, suits and ritual masks. In 1948 in Paris the exhibition of “luchist” works of M.Larionov and N.Goncharova was organized. In 1950s she created a series of still-lifes. In 1957 in Monte-Carlo she designed the festival devoted to the 15 anniversary of death of M.Fokin. After Goncharova’s death the most part of her works were sent to Russia.

vladimer (lado) gudiaSvili. 1896. Tbilisi, saqarTvelo – 1980. Tbilisi, saqarTvelo fermweri, grafikosi, fermwer-monumentalisti, Teatrisa da kinos mxatvari, wignis ilustratori, pedagogi adreuli bavSvobidan xatviT gatacebuli gudiaSvilis niWis pirveli Semfasebeli TbilisSi mcxovrebi germaneli mxatvari r. zomeri iyo. manve urCia mis mSoblebs bavSvisTvis profesiuli ganaTleba miecaT. 1910 wels gudiaSvili kavkasiis natifi xelovnebis wamaxalisebeli sazogadoebis ferwerisa da qandakebis skolaSi miabares. 1914 wels mxatvarma I xarisxis diplomiT daasrula swavla da muSaoba daiwyo vaJTa I gimnaziaSi. 1914 wels Seasrula ilustraciebi l. qiaCelis moTxrobebisTvis, romlebic Jurnal `Teatrsa da cxovrebaSi~ daibeWda. 1915 wels Tbilisis erT-erT samikitnoSi Nniko firosmanaSvili gaicno. amave wels moewyo mxatvris I personaluri gamofena. 1916 wels gudiaSvili monawileoba qarTvel xelovanTa sazogadoebis dafuZnebaSi,

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aseve qarTvel xelovanTa da qarTuli saistorio-saeTnografio sazogadoebebis mier organizebul samecniero eqspediciebSi nabaxtevsa da daviT-garejSi, xolo 1917 wels iyo eqvTime TayaiSvilis eqspediciis wevri samxreT saqarTveloSi. gudiaSvilma sxva mxatvrebTan erTad Sua saukuneebis qarTuli freskebis aslebi Seasrula. swored qarTuli freskebis mxatvrulma gamomsaxvelobam iqonia ganmsazRvreli roli gudiaSvilis ferweris plastikuri enis Camoyalibebaze. 1917 wels Jurnal `ARS~-is mxatvrad muSaobda. gudiaSvili cisferyanwelTa da futuristebis Sexvedrebisa da disputebis aqtiuri monawile da `futuristuli sindikatis~ wevri iyo. monawileobda Tbilisis artistuli kafeebisa da klubebis -`fantastiuri samikitno~ da `poetebis saamqro~ - interierebis moxatvaSi. 1919 wels monawileobda «Малый круг»-is gamofenaSi. s. sudeikins, d. kakabaZesa da z. valiSevskisTan erTad moxata artistuli sazogadoebis SenobaSi mdebare xelovanTa klubi `qimerioni~. n. gonCarovasTan, k. da il. zdaneviCebTan, a. baJbeuq-meliqovTan, s. valiSevskisa da sxva mxatvrebTan erTad gaaforma sofia melnikovasadmi miZRvnili poet-futuristTa krebuli. monawileoba miiRo didebis taZarSi qarTvel mxatvarTa sazogadoebis mier mowyobil gamofenaSi.AgansakuTrebuli individualizmiT gamorCeuli axalgazrda mxatvris SemoqmedebaSi ukve mkafiod Camoyalibebul saxes iZenda misi originaluri stilis niSnebi _ qarTuli folklori, freskisa da aRmosavluri miniatiuris mxatvruli tradicia, firosmanis esTetika da dasavluri modernuli xelovnebisTvis damaxasiaTebeli saxviTi enis simZafre da gamomsaxveloba. 1919 wels, qarTvel xelovanTa sazogadoebis rekomendaciiT saqarTvelos demokratiuli respublikis mTavrobam d. kakabaZesTan erTad parizSi saswavleblad miavlina. 1919-1926 wlebSi parizSi, ronsonis Tavisufal akademiaSi, mecadineobda. 1920 wels kafe `rotondaSi~ daumegobrda pikasos, franc mazerels, amedeo modilianis, alber markes, andre derens, mwerlebsa da kritikosebs _ andre bretons, andre salmons, lui aragons, pier vormss. monawileobda ~Salon d’ Automne” da “Les Indépendants” gamofenebSi. 1922 wels parizSi, galerea `La Licorne~-Si, moewyo qarTveli mxatvrebis _ l. gudiaSvilis, d. kakabaZisa da S. qiqoZis namuSevrebis gamofena. imave wels `La Licorne~-Si gaimarTa mxatvris personaluri gamofena. katalogis teqsti moris reinalma dawera. 1921-1925 wlebSi monawileobda gamofenebSi parizsa da amerikaSi. misi namuSevrebi parizisa da madridis muzeumebma SeiZina. parizis `kavkasiur restoranSi~, monmartrze, Seasrula ori freskuli kompozicia Zveli Tbilisis Temaze. 1925 wels personaluri gamofena moawyo Jozef biies galerea “Billiet”-Si. katalogis teqstis avtori andre salmoni oyo. moris reinalma gazeT “Mond”-Si gamoaqveyna statia gudiaSvilis Semoqmedebaze, romelic mogvianebiT monografiis saxiT gamosca. 1925 wels TanamSromlobda n. balievis TeatrTan da Seasrula piesa `kavkasiuri sagaloblebis~ dekoraciebi. amave wels gudiaSvili TbilisSi dabrunda. 1926 wels moewyo misi personaluri gamofena. nayofierad muSaobda Teatralur-dekoraciuli xelovnebis dargSi. TanamSromlobda k. marjaniSvilTan rusTavelis TeatrSi (baleti-pantomima `mzeTa-mze~, `lamara~), mogvianebiT _ marjaniSvilisa da Tbilisis operisa da baletis TeatrebTan. 1927 wels moxata sastumro `orientis~ vestibiuli. 1927-1932 wlebSi gudiaSvili samxatvro akademiis profesori da gamgeobis wevri iyo. 1928 wels Seqmna samxatvro akademiis gerbi. gawevrianda sarmaSi_sa-

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qarTvelos revolucioner mxatvarTa asociacia. nayofierad muSaobda wignis grafikaSi. mas ekuTvnis rusTavelis `vefxistyaosnisa~ (1934) da sulxan-sabas `sibrZne sicruisas~ dasuraTeba. 1935 wels moewyo misi personaluri gamofena parizSi. muSaobda kinos mxatvrobaSi mixeil WiaurelTan filmebze `saba~ (d. kakabaZesTan erTad) da `xabarda~. 1947-1948 wlebSi saqarTvelos kaTalikos kalistrates TxovniT moxata qvaSveTis eklesiis sakurTxeveli, riTac sabWoTa xelisuflebis guliswyroma gamoiwvia. 1940-1950-ian wlebSi Seasrula satirul-grafikuli cikli, romelSic alegoriuli eniT gaakritika arsebuli socialur-politikuri yofis maxinji mxareebi. 1957 wels, mTavrobis mcdelobis miuxedavad, lado gudiaSvilis personaluri gamofena axalgazrda mxatvrebis zewolis Sedegad mainc gaixsna samxatvro galereaSi. es movlena 50-ianelTa Taobis mxatvarTa mier ganixileba, rogorc Tanamedrove qarTuli xelovnebis axali etapis dasawyisi.

Vladimir (Lado) Gudiashvili. 1896. Tbilisi, Georgia – 1980. Tbilisi, Georgia Painter, graphic-artist, painter-sculptor of monuments, artist of theatre and cinema, illustrator of the book, teacher The first, who appreciated the Lado Gudiashvili’s talent, who since childhood had been keen on drawing, was the German artist R.Zommer who at that time lived in Tbilisi. He advised to the child’s parents to give him professional education. In 1910 Gudiashvili started to study at school of painting and sculpture of the Caucasian encouraging society of fine arts. In 1914 the artist finished school with the diploma of the first degree and started to work in the first man’s grammar school. In 1914 he executed illustrations for L.Kiacheli’s stories which were printed in magazine “Theatre and the Life” (“Teatri da cxovreba ). In 1915 he got acquainted with Niko Pirosmanashvili in one of drinking houses. His first personal exhibition took place the same year. In 1916 Gudiashvili took part in the organization of the society of Georgian artists, and also he took part in the scientific expeditions in Nabahtevi and David-Garedzhi, organised by the society of Georgian artists and the Georgian historic and ethnographic society; in 1917 he was the participant of Eqvtime Takaishvili expedition in Southern Georgia. Gudiashvili, together with other artists, executed copies of the Georgian frescos of the Middle Ages. Expressive art of the Georgian frescos had defining role on formation of plastic language of painting Gudiashvili. In 1917 he worked as the artist in magazine “ARS”. Gudiashvili was the active participant of meetings and debates of futurists and “Tsisperkancelebi” and was a member of “Futuristic syndicate”. He participated in wall painting of interiors of Tbilisi artistic cafes and clubs – “Fantastic drinking House” and “Corporation of poets “. In 1919 he participated in the exhibition “Small circle” (“Малый круг”). He decorated the artistic club”Qimerioni”, located in the building of the artistic society, together with S.Sudejkin, D.Kakabadze and Z.Valishevsky. Gudiashvili, (together with N.Goncharova, Cyril and Ilja. Zdanevich, A.Bazhbeuk-Melikov, S.Valishevsky and other artists), decorated the collection of poets-futurists’ poems, devoted to Sofia Melnikova. He also took part in the exhibition arranged by the society of Georgian artists in”Glory Temple”. In the creativity of the young artist, distinguished by special individualism, are shown the signs of his original style – Georgian folklore, fresco, and art tradition of east miniature, aesthetics of Pirosmani and, peculiar to the western modernist art, a sharpness of graphic language and expressiveness. In 1919, on recommendations of the society of

the Georgian artists, the government of the Georgian democratic republic Gudiashvili and D.Kakabadze sent to study to Paris. In 1919-1826 in Paris he studied in free academy of Ronson. In 1920 in cafe “Rotunda” he made friends with Picasso, Franc Mazerelli, Amadeo Modigliani, Albert Marquez, Andre Darren, with writers and critics – Andre Breton, Andre Salmon, Luis Aragon, and Pierre Vorm. He participated in exhibitions: “Salon d’Automne” and “Les Independants”. In 1922, in Paris, in gallery “La Licorne”, the exhibition of the Georgian artists – L.Gudiashvili, D.Kakabadze and S.Kikodze took place. The same year in gallery “La Licorne” the personal exhibition of the artist took place. The catalogue text has written by Morris Reynal. In 1921-1925 he participated in exhibitions in Paris and America; his works were purchased by museums of Paris and Madrid. In Paris, at “The Caucasian restaurant” on Montmartre, he executed two fresco compositions on theme of old Tbilisi. In 1925 he arranged the personal exhibition in Josef Beyer‘s gallery “Billiet”. The author of the catalogue was Andre Salmon. Morris Reynal published in the newspaper “Monde” the article about the creativity of Gudiashvili, which later was issued in the form of monography. In 1925 he co-operated with N.Baliev’s theatre and executed the scenery for play “Caucasian hymns”. The same year Gudiashvili returned to Tbilisi. In 1926 his personal exhibition was organized. He fruitfully worked in sphere of theatrically-decorative art. He co-operated with Kote Marjanishvili theatre and Rustaveli (ballet-panorama “Mzeta-Mze”, “Lamara”), later – with the theatre Mardzhanishvili and Tbilisi opera and ballet theatre. In 1927 he painted walls of the hotel “Orient” lobby. In 1927-1932 Gudiashvili was the professor and a member of board of Academy of arts. In 1928 he created the arms of Academy of arts. He became a member of Association of the Georgian Artists - revolutionaries. He fruitfully worked in the book drawing. He is the author of the illustrations of Rustaveli “The Knight in Panther Skin” and Sulhan-Saba Orbeliani “Wisdom of lie”. In 1935 his personal exhibition in Paris took place. He worked as the artist of cinema with Michael Chiaureli over the films: “Saba” (together with D.Kakabadze) and “Habarda”). In 1947-1948 under the request of Catholikos Kalistrat he painted the altar of temple “Qvashueti”, with what he caused anger of the Soviet government. In 1940 -1950 he executed a satiric and graphic cycle where by allegorical language he criticized severely the erroneous parts of a sociopolitical system. In 1957, nevertheless the attempts of the governments, personal exhibition of Gudiashvili took place in art gallery under the insisting of young artists. This phenomenon is considered by artists of the 50s as the beginning of a new stage of the Georgian art.

mixeil gureviCi. 1904. smolenski, ruseTi _ 1943. smolenskis olqi, ruseTi fermweri, grafikosi 1913 wels mxatvris ojaxi tfilisSi dasaxlda. ganaTlebis saxalxo komisariatis mier mivlinebuli iyo moskovSi da swavlobda satyeo-teqnikur institutSi. misi bavSvobisdroindeli gataceba xatviT ferweris profesiuli dauflebis survilSi gadaizarda da 1925 wels gureviCma moskovis umaRles samxatvro-teqni-

kur institutSi (ВХУТЕМАС) Caabara, Tavdapirvelad keramikis fakultetze, Semdeg ki fermwer d. Sterenbergis klasSi. 19301232 wlebSi igi iyo dazguri ferweris mxatvarTa sazogadoeba ОСТ-is wevri, 1931-1933 wlebSi ki, mas Semdeg rac am gaerTianebis mxatvrebi sabWoTa ideologiis cenzuris dartymis qveS moeqcnen, gaerTianeba Изобригады-is wevri. 1942 wlidan monawileobda II msoflio omSi kalininis frontze.

v sigizmund (zigmund, ziga) valiSevski. 1897. sankt-peterburgi, ruseTi – 1936. krakovi, poloneTi grafikosi, fermweri, fermwer-monumentalisti, Teatris mxatvari, karikaturisti, ilustratori, plakatisti, poeti-futuristi

1907 wels s. valiSevskis ojaxi TbilisSi dasaxlda. xatvam bavSvobidanve gaitaca. 1903-1911 wlebSi jer baTumSi, xolo Semdeg TbilisSi, n. sklifasovskis bavSvTa samxatvro skola-studiaSi, swavlobda. misi xelovnebisa da, zogadad, msoflxedvis Camoyalibebaze didi gavlena iqonies Zmebma zdaneviCebma, d. burliukma da v. maiakovskim. 1913 wels valiSevskim firosmani gaicno. zdaneviCebsa da le-dantiusTan erTad man didad Seuwyo xeli niko firosmanis xelovnebis popularizacias, misi mxatvruli memkvidreobis gadarCenasa da Segrovebas. 1915 wels TbilisSi, msaxiobTa sazogadoebis sakoncerto darbazSi, moewyo valiSevskis plakatebis gamofena, sadac aSkarad gamovlinda mxatvris gataceba kubofuturistuli xelovnebiT. amave wels moxalised wavida I msoflio omSi, saidanac mZimed daWrili dabrunda. 1917 wlidan `futuristebis sindikatis~ wevria. l. gudiaSvilTan, i. nikolaZesTan k. zdaneviCsa da a. petrakovskisTan erTad moxata poetTa klubi `fantastikuri samikitno~. 1919 wels l. gudiaSvilTan, s. sudeikinTan, s. sorinTan erTad mxatvarTa gaerTianeba `mcire wris~ gamofenis monawilea.

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1918-1920 wlebSi a. kruCionixsa da k. zdaneviCTan erTad monawileobda liTografirebuli futuristuli wignebis gamocemaSi. 1919 wels Seasrula ilustraciebi i. degenisa da b. gordeevis wignisaTvis «Путешествие Сергея Городецкого в Батум», sofia melnikovasadmi miZRvnili poet-futuristTa leqsTa krebulis da s. gorodeckis Jurnal `ARS~-Tvis. 1919 wels sxvebTan erTad (l. gudiaSvili, d. kakabaZe, s. sudeikini) monawileoba miiRo kafe `qimerionis“ kedlis moxatvaSi. al. zalcmanTan erTad ki moxata Tbilisis operisa da baletis Teatris farda. 1920 wels Tbilisis samxatvro akademiis sagamofeno darbazSi moewyo misi personaluri gamofena. poloneTis konsulma valiSevskis istoriul samSobloSi dabruneba SesTavaza. 1921 wels mxatvari poloneTSi gaemgzavra da swavla ganagrZo krakovis natifi xelovnebis akademiaSi i. pankeviCTan. 1923 wels maT daaarses samxatvro dajgufeba `parizis komuna~. 1924-1932 wlebSi valiSevski parizSi cxovrobda. igi gamofenebis (maT Soris, veneciis me-19 bienale) aqtiuri monawile iyo. 1933 wels misi iniciativiT daarsda polonel mxatvarTa kavSiri. 1936 wels moxata vavelisa da varSavis samefo sasaxleebis plafonebi. mxatvrulad gaaforma pergolezis opera-bufi `La Serve Padrona~.

Sigismund (Sigmund, Ziga) Valishevsky. 1897. St.-Petersburg, Russia – 1936. Krakow, Poland. Graphic-artist, painter, muralist, artist of theatre, caricaturist, illustrator, poster artist, poet-futurist In 1907 S.Valishevsky’s family settled in Tbilisi. From the childhood he took a great interest in drawing. In 1903-1911 at first in Batumi, and then in Tbilisi he studied at N.Sklifasovsky’s children’s art school-studio. Brothers Zdanevich, D.Burljuk and V.Majakovsky had a great influence on the formation of his creativity and, in general, on formation of his outlook. In 1013 Valishevsky got acquainted with Pirosmani. Together with Zdaneviches and le-Dantju he promoted popularization of Pirosmani’s creativity, helping, and collecting of his art heritage. In 1915 in Tbilisi, in the concert hall of the society of actors, the exhibition of Valishevsky’s posters was arranged, where the interest of the artist to cubo- futuristic art was revealed. The same year he went as a volunteer to the First World War, from where he returned badly wounded. From 1917 he became a member of “syndicate of futurists”. Together with L.Gudiashvili, I.Nikoladze, K.Zdanevich and A.Petrakovsky he painted the club of poets “Fantastic drinking house”. In 1919, together with L.Gudiashvili, S.Sudejkin, S. Sorin, he was the participant of the exhibition of association of artists “Small circle”. In 1918-1920 together with A.Kruchyonyh and K.Zdanevich took part in the publication of lithographic futuristic books. In 1919 he executed illustrations for I.Degen and B.Gordeev’s book “Путешествие Сергея Городецкого в Батум”, for the collection of verses of the poet-futurists, devoted to Sofia Melnikova, and S.Gorodetsky’s magazine “ARS”. In 1919 together with others artists (L.Gudiashvili, D.Kakabadze, and S.Sudejkin) took part in painting of walls of cafe “Qimerioni”. Together with Al.Zaltsman painted a curtain of Tbilisi opera and ballet theatre. In 1920 in the showroom of Tbilisi Academy of arts his personal

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exhibition took place. The consul of Poland suggested Valishevsky to return to his historical native land. In 1921 the artist left for Poland and continued to study at Krakow Academy of fine arts at I.Pankevich. In 1923 they organized the art grouping “Commune of Paris”. In 1924-1032 Valishevsky lived in Paris. He was the active participant of exhibitions (including the XIX biannual exhibition of Venice). In 1933 under his initiative the Union of the Polish artists was founded. In 1936 he painted plafonds of imperial palaces in Vavel and Warsaw. He decorated opera-buf Pergolesi “La Serve Pardona”.

nikoloz vitingi. 1910. brianski, ruseTi _ 1991. moskovi, ruseTi fermweri, grafikosi, wignis ilustratori moyvaruli mxatvrebis ojaxSi dabadebuli nikoloz vitingi xatvam bavSvobidanve gaitaca. 1920-iani wlebis bolos swavlobda moskovis mxatvarTaA ganaTlebis saxlSi k. morozovisa da k. iuonis klasSi, 1928 wels ki _ sazogadoeba «Цех живописцев»-is samxatvro kursebze k. suriaevsa da n. frolovTan. misi mxatvruli gemovnebisa da individualuri stilis Camoyalibebaze didi gavlena iqonies «Цех живописцев»-is organizatorma, manifest «Цветодинамос и тектонический примитивизм»-is avtorma aleqsandre SevCenkom da germanelma eqspresionistebma, romelTa namuSevrebi pirvel saerTo germanul gamofenaze ixila. vitingis namuSevrebis feradovani gamomsaxveloba da formaTa deformacia swored am gavlenebiTaa ganpirobebuli. 1932 wels, yvela samxatvro gaerTianebis gauqmebis Semdeg, n. vitingma urTierToba gaagrZela a. SevCenkosTan. 1934 wlidan man moskovis samxatvro saswavlebelSi, s. gerasimovis klasSi (Semdgom-surikovis samxatvro saswavlebeli), ganagrZo swavla. misi saxviTi enis avangarduli Ziebebi drois moTxovnebma da ideologiurma wnexma SeaCera, Tumca, feris emociuri JReradoba da eqspresiuli gamomsaxveloba mTeli Semoqmedebis ganmavlobaSi SeinarCuna. nayofierad muSaobda dazgursa da wignis grafikaSi. Nicolay Viting. 1910. Bryansk, Russia – 1991. Moscow, Russia Painter, graphic-artist, illustrator of the book Born in the family of dilettante-artists, Nicolay Viting was keen on drawing since childhood. In the late twenties he studied in the Moscow house of training of artists at K.Morozov and K.Juon’s class, and in 1928 – he studied at art courses of the society “Цех живописцев” at K.Sjurjaev and N.Frolov. On the formation of his art taste and individual style had the great influence the organizer of “Цех живописцев“, Alexander Shevchenko- the author of the manifesto “Цветодинамос и тектонический примитивизм” and German impressionists ,whom he saw at the first general German exhibition .The color image of Viting’s

works and deformation of forms was caused by these influences. In 1932, after abolition of art associations, Viting continued relations with A.Shevchenko. In 1934 he continued to study at the Moscow art school in S.Gerasimov’s class (subsequently-art school of Surikov). Avant-garde searches of his art language were suspended by the demand of time and ideological pressing, though he could keep emotional sounding of color and expressiveness of his works in a current of all activity. He fruitfully worked in easel painting and book drawing.

aleqsandre volkovi. 1886. sof. axali margelani, uzbekeTi _ 1956. taSkenti, uzbekeTi fermweri, poeti, pedagogi a. volkovi daibada uzbekursa da tajikur yiSlayebs Soris gaSenebul baRebSi Caflul rusul sofelSi. Sua azia misTvis ara egzotikuri, aramed Cveuli, yofiTi garemo iyo. mSoblebis mier gansazRvrul samxedro karieraze uari Tqva da klasikuri samxatvro ganaTleba miiRo. Tavdapirvelad, 1906 wels, Caabara peterburgis universitetis fizika-maTematikis fakultetis sabunebismetyvelo ganyofilebis biologiis jgufSi. mikroskopiT muSaobisas moulodnelad aRmoaCina mikrosamyaros mravalferovneba da ferTa simdidre. nanaxiT gancvifrebulma mexsierebiT akvarelis teqnikiT Seasrula Canaxati. imave wels paralelurad daiwyo swavla d. bortnikeris kerZo samxatvro studiaSi. 1908 wels volkovma Tavi daaneba universitetSi swavlas da Caabara umaRles samxatvro saswavlebelSi. Tumca, misi maswavleblis, v. makovskis, pedagogiuri sistema volkovisTvis ar aRmoCnda mimzidveli. 1910 wels volkovma Caabara parizidan dabrunebuli berSteinis kerZo samxatvro skolaSi, sadac misi maswavleblebi iyvnen n. rerixi, i. bilibini, l. Servudi. peterburgSi volkovi Zlier gaitaca m. vrubelis Semoqmedebam. es gataceba kidev ufri gaaZliera vrubelis monumenturma ferweram da xatweram, romelic axalgazrda mxatvarma 1912 wels kievSi, vladimiris taZarsa da kiriles eklesiaSi, ixila. volkovma swavlis gagrZeleba kievSi gadawyvita, sadac am dros aqtiuri samxatvro cxovreba mimdinareobda. 1912-1916 wlebSi igi kievis samxatvro saswavlebelSi f. kriCevskisa da v. menkTan swavlobda.Aaq gaicno a. eqsteri da a. tiSleri. peterburgisa da kievis avangardulma atmosferom, Tanamedrove evropuli xelovnebis gacnobam, cxadia, volkovis Semoqmedebis formirebaSi gadamwyveti roli Seasrula. taSkentSi dabrunebuli mxatvris namuSevrebSi Tavs iCens individualuri stilis Ziebis niSnebi – modernistuli xelovnebis mxatvruli sistemebis sinTezireba adgilobrivi, xalxuri dekoratiuli xelovnebis tradiciebsa da aRmosavlur feradovnebasTan. am periodSi Sesrulebul suraTebSi imanenturi samyaros kristalebad `daSlil~ gamosaxulebaTa xaliCiseburi ganTavseba sibrtyeze gansakuTrebuli dekorativizmis STabeWdilebas axdens. kubofuturistuli stiliT Sesrulebuli Suaaziuri arqetipuli gamosaxulebani STambeWdav sanaxaobas qmnis. Tumca, mxatvris avangarduli Ziebani 1920-iani wlebis meore naxevarSi,

bolSevikuri ideologiis gaZlierebis paralelurad, tradiciuli klasikuri mxatvruli formebiT Canacvlda. 1930-iani wlebis bolos volkovma Tavisi adreuli namuSevrebis umetesoba dawva. mxatvari aqtiur pedagogiur moRvaweobas eweoda uzbekeTis sxvadasxva samxatvro saswavlebelSi. 1934-1937 wlebSi uzbekeTSi, iseve rogorc mTel sabWoTa kavSirSi, ukompromiso brZola mimdinareobda formalizmis winaaRmdeg. volkovi kritikis erTerT obieqtad iqca. miuxedavad imisa, rom uzbekeTis mxatvarTa kavSirSi sxvadasxva posti ekava igi iSviaTad monawileobda gamofenebSi. 1940-iani wlebis bolos volkovma yvela posti datova da daiwyo ganmartoebuli cxovreba. 1956 wels Sedga a. volkovis namuSevrebis pirveli personaluri gamofena, romelsac mxatvari ar daswrebia. lit.: Земская А. Александр Волков. Мастер «Гранатовой чайханы». М., 1975. Волков А. Альбом. Таш., 1982. Энциклопедия русского авангарда. т. I. М., 2013. Alexander Volkov. 1886. Village New Margelan, Uzbekistan – 1956. Tashkent, Uzbekistan Painter, poet, teacher Alexander Volkov was born in the Russian village surrounded with gardens, which was situated between the Uzbek and Tadjik kishlaks. Central Asia was for him not exotic, but an ordinary environment. He refused the military career offered him by parents and received a classical art education. At first, in 1906, he began to study in the Petersburg University, physical and mathematical faculty, in group of biology of department of natural sciences. In the operating time with a microscope he unexpectedly found out variety of microcosm color abundance. Amazed with the seen he, on memory, created drawing with water color techniques. The same year, in parallel, started to study in D.Bortniker’s private art studio. In 1908 Volkov left study at the University and passed the entrance examinations in the Higher Art School. But the pedagogical system of his teacher V.Makovsky was not for Volkov’s interest. In 1910 Volkov passed the entrance examinations in the private school of just come back from Paris Bershtein, where his teachers were N.Rerih, I.Bilibin and L.Shervud. In Petersburg Volkov took a great interest in M.Vrubel’s creativity. Monumental painting and icon painting of Vrubel, which the young artist saw in 1912 in Kiev, in Vladimir temple and Cyril church, even more aggravated his interest. Volkov decided to continue study in Kiev where the active creative life at this time was in full swing. In 1912-1916 he studied at Kiev Art School at F.Krichevsky and V.Menk. Here he got acquainted with A.Ekster and A.Tyshler. Avant-garde atmosphere of Petersburg and Kiev, acquaintance with modern European art, played the main role in formation of Volkov’s creativity. In the works of the artist, who had come back to Tashkent, the signs of search of individual style - synthesis of art systems of modernist art with local, national traditions of decorative art and east colorfulness -are shown. In the pictures executed during this period, a carpet arrangement of the immanent world image on a plane, “broken” into crystals, makes especial impression of decorative effect. Avant-garde searches of the artist in the second half of 1920s, in parallel with strengthening of Bolshevist ideology, were replaced by traditional classical art forms. In the late thirties Volkov burnt the majority of his early works. The artist conducted active pedagogical work in different art schools of Uzbekistan. In 1934-1037 in Uzbekistan as well as in all Soviet Union, there was uncompromising struggle against the formalism. Volkov became one of objects of criticism. In spite of the fact that

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he held different posts in the art union of Uzbekistan, he seldom participated in the exhibitions. In the end of 1940 Volkov left all the posts and started to live in solitude. In 1956 the first personal exhibition of works of Volkov took place. The artist at the exhibition was not present.

kirile zdaneviCi. 1892. kojori, saqarTvelo – 1969. Tbilisi, saqarTvelo fermweri, grafikosi, Teatris mxatvari, ilustratori, afiSebis mxatvari, xelovnebis mkvlevari kirile zdaneviCis mama, mixeil zdaneviCi, poloneTidan gadmosaxlebulTa STamomavali iyo. musikiTa da mxatvrobiT gatacebuli deda, valentina gamyreliZe, Svilebs, kirilesa da ilias, adreuli asakidanve unergavda istoriisa da xelovnebis siyvaruls. 1900-1910 wlebSi kirile tfilisis vaJTa I gimnaziaSi swavlobda. paralelurad n. sklifasovskisa da b. fogelis xatvisa da ferweris skolaSi mecadineobda. 1910 wels moskovSi gaemgzavra. 1911 wels peterburgis samxatvro akademiis ferweris umaRles skolaSi Caabara. 1912 wels peterburgSi daumegobrda mixeil le-dantius, garusebul frangs, romelic ukve cnobili iyo rogorc axali ferweris Teoretikosi da praqtikosi. k. zdaneviCi peterburgis samxatvro cxovrebis aqtiuri wevri da Всёчество-s erT-erTi lideri gaxda. sxvadasxva mxatvruli mimdinareobis saxeobrivi da saxviTi struqturebis sinTeziT k. zdaneviCi ayalibebs sakuTar xelwerasa da xedvas. sinTezurobisken swrafva mogvianebiT mis `orkestrul ferweraSi~ gamovlinda. peterburgSi igi «Союз молодёжи»-is jgufs dauaxlovda. 1912 -1913 wlebSi moskovSi k. zdaneviCi rusuli avangardis umniSvnelovanes figurebs _ mixeil larionovsa da natalia gonCarovas daumegobrda. Uudavoa, am periodSi maTi Semoqmedebis gavlena k. zdaneviCze. larionovisa da N gonCarovas irgvliv Semokrebil Tanamoazre mxatvarTa dajgufebaSi gansjis sagani sami ZiriTadi esTetikuri xedva iyo: al. SevCenkos neoprimitivizmi, mixeil larionovis luCizmi, i. zdaneviCisa da m. le-dantius Всёчество. pirveli k. zdaneviCisTvis aramxolod SemoqmedebiTi TvalsazrisiT gaxda mniSvnelovani. 1912 wels tfilisis quCebSi seirnobisas ardadegebze mcire xniT Camosulma k. zdaneviCma da m. le-dantium erT-erTE duqanSi firosmanis namuSevrebi aRmoaCines. amieridan zdaneviCisTvis cxovrebis miznad, garda sakuTari Semoqmedebisa, niko firosmanis namuSevrebis Segroveba, popularizacia da kvleva iqca. mogvianebiT, 1963 wels, man wignic dawera - `niko firosmani~. 1912_1913 wlebSi zdaneviCma monawileoba miiRo gamofenebSi _ «Ослинный хвост»-sa da «Мишень»-Si. 1912 wlis oqtombridan igi samxedro samsaxurSia. Cairicxa kavkasiis msrolelTa I polkSi. erTi wlis Semdeg ki parizSi gaemgzavra. safuZvlianad Seiswavla klasikuri da Tanamedrove xelovneba. parizSi zdaneviCi moqandake aleqsandre arxipenkos dauaxlovda, romelic kubistebis

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Tanamoazre iyo. arxipenkos atelieSi moewyo kiriles personaluri gamofena, romlis Semdeg kedelze gaCnda pikasos mier gakeTebuli minaweri 5 +. 1913-1915 wlebSi v. tatlinTan erTad moskovis studia «Башня»-Si muSaobda. 1914 wels mixeil larionovis jgufTan erTad monawileobda gamofenaSi _«№4. Футуристы. Лучисты. Примитив». mobilizaciis gamocxadebis Semdeg gaemgzavra prusiis frontze. 1915 wels SvebulebiT Camovida tfilisSi da colad SeirTo 19 wlis valeria valiSevskaia, uaxloesi megobris, ziga valiSevskis da, romelsac male gaeyara. 1917 wels xelSi daWrili zdaneviCi samSobloSi dabrunda da tfilisis artistul cxovrebaSi CaerTo. l. gudiaSvilTan, a. baJbeuq-meliqovsa da z. valiSevskisTan erTad ganagrZoa firosmanis tiloebis Zebna. 1917 wlis oqtomberSi tfilisSi, golovinis prospeqtis # 10-Si, suraTebis cnobil maRazia “Blanc et Noir”-is sardafSi, zdaneviCma Tavisi namuSevrebis gamofena moawyo. igi gaxda jguf `futuristebis sindikatisa~ da universitet `Футурвсеучбище~-s erT - erTi wevri (a. kruCionixTan, i. zdaneviCsa da i. terentievTan erTad). TanamSromlobda a. kruCionixsa da v. kamenskisTan rogorc wignis ilustratori. gaaforma futuristuli wignebi: kamenskisa da kruCionixis `1918~, kruCionixis «Учитесь худоги» da «Малахолия в капоти, i. terentievis «17 Ерундовых орудiй», «Рекорд нежности», da «А. Кручёных грандiозаръ». 1918-1919 wlebSi moxata tfilisis kafe-klubebis _ àrgonavtebis navisa~ da `fantastikuri duqnis~ kedlebi. sxva mxatvrebTan erTad gaaforma sofia melnikovasadmi miZRvnili poet-futuristTa krebuli «Софіи Георгіевнѣ Мельниковой. Фантастическій кабачек. Тифлис. 1917. 1918. 1919». 1919 wels l. gudiaSvilTan, a. baJbeuq-meliqovTan, n. gonCarovasa da i. terentievTan erTad monawileoba miiRo Jurnal Àrs~-is mxatvrul gaformebaSi. 1920 wels eswreboda mecadineobebs g. gurjievis mier tfilisSi daarsebul adamianis harmoniuli ganviTarebis institutSi. amave wels k. zdaneviCi italiis gavliT parizSi Cavida. iq xvdeboda m. larionovs, n. gonCarovas; Tbilisel megobrebs _ l. gudiaSvilsa da d. kakabaZes. samSobloSi dabrunebisas konstantinopolSi Sexvda parizSi mimaval ilia zdaneviCs. 1921-1922 wlebSi Kk. zdaneviCma Seqmna grafikuli namuSevrebis seria, romelTa nawili parizSi ZmasTan gagzavna. muSaobda Teatris mxatvrad. sabWoTa xelisuflebis damyarebis Semdeg man qveynis datovebis mizniT vizisTvis mimarTa amerikis SeerTebul Statebs, magram uari miiRo da samSobloSi darCa. iZulebuli gaxda kompromisuli saxviTi ena moeZebna. am periodidan is aqtiur moRvaweobas iwyebs Teatralur-dekoraciuli xelovnebis sferoSi. sabWoTa periodis bevri mxatvrisTvis xelovnebis es dargi garkveuli xani kidev inarCunebda mxatvruli Canafiqris Tavisuflad gamoxatvis SesaZleblobas. Gam TvalsazrisiT gansakuTrebiT sainteresoa tfilisSi zdaneviCis mier gaformebuli speqtaklebi `gazi~ da àdamiani - masa~, agreTve eskizebi gr. robaqiZis piesisa `malStremisaTvis~. 1926 wels gamovida statiebis krebuli `n. firosmanaSvili~. k. zdaneviCi wignis TavsarTisa da erT-erTi statiis avtori iyo. 1928-1930 wlebSi ojaxTan erTad cxovrobda da SemoqmedebiT saqmianobas eweoda moskovSi. TanamSromlobda v. maiakovskisa da futuristul dajgufeba Леф-Tan, aseve moskovis foregeris TeatrTan. omis dros muSaobda agitpropagandistad (moskovsa da TbilisSi). 1945 wlidan saqarTvelos mxatvarTa kavSiris wevri iyo. 1937 wlis masobrivi represiebis pirvelma talRam kirile zdaneviCs gverdi auara, magram 1949 wels igi 15 wliT

gadaasaxles vorkutaSi, mordoveTSi. TbilisSi k. zdaneviCi 1958 wels dabrunda. 1959-1963 wlebSi cxovrobda Tbilissa da moskovSi, beWdavda statiebs qarTvel mxatvarTa Semoqmedebaze. Seqmna monografia firosmanze. 1963 wels miiRo saqarTvelos ssr xelovnebis damsaxurebuli moRvawis wodeba. 1966-1967 wlebSi, xangrZlivi ganSorebis Semdeg, parizSi Sexvda Zmas, ilia zdaneviCs. Kkirilem parizSi ramdenime Tve dahyo. 1967 wels TbilisSi moewyo misi gamofena `parizi mxatvris TvaliT~.

Kyrill Zdanevich. 1892. Kojori, Georgia – 1969. Tbilisi. Georgia Painter, graphic- artist, artist of theatre, illustrator, artist of posters, art historian Kyrill Zdanevich’s father, Michael Zdanevich, was the descendant of immigrants from Poland. Kyrill’s mother, Valentina Gamkrelidze, who had been carried away by music and drawing, taught her children to love history and art. In 1900-1910 Cyril studied in the Tiflis First man’s grammar school. In parallel he studied at N.Sklifasovsky and B.Fogel’s school of painting and drawing. In 1910 he left for Moscow. In 1911 he started to study in Petersburg higher school of painting of the Academy of Arts. In 1912 he made friends with Michael le-Dantju, Russified Frenchman, who was already known as theorist and expert of new painting. Cyril Zdanevich became an active member of the Petersburg Art life and one of the leaders of “всёчествo”. By synthesis of different art tendencies K.Zdanevich creates his own handwriting. The aspiration to synthesis later was revealed in his “Orchestral painting “. In Petersburg he drew closer together with the group “Союз Молодёжи”. In 1912-1913 in Moscow Cyril Zdanevich made friends with the considerable figures of Russian avant-garde – Michael Larionov and Natalia Goncharova. Influence of their creativity on Zdanevich is undeniable during this period. In the art circles, gathering round Larionov and Goncharova, there were three basic aesthetic subjects of discussion: “Neoprimitiveness”of A. Shevchenko, “Luchism” of Michael Larionov, “Bсёчество” of I.Zdanevich and М le-Dantju. In 1912, walking in the streets of Tbilisi, just arrived on vacation L.Zdanevich and M. le-Dantju, in one of wine cellars, found out works of Pirosmani. From that time on, collecting of Pirosmani’s works, popularization and research of his creativity, except his own one, was the purpose of Zdanevich’s life. Later, in 1963, he wrote the book – “Niko Pirosmani”. In 19121913 Zdanevich took part in exhibitions “Ослиный хвост” and “Мишень”. Since October 1912 he was on military service – he was enlisted in the first regiment of the Caucasian marksmen. A year later he left for Paris, where he thoroughly studied classical and modern art. In Paris Zdanevich made fiends with sculptor Alexander Archipenko who was the adherent of cubists. In Archipenko’s studio the exhibition of Cyril Zdanevich’s works took place and then on the wall appeared Picasso’s inscription –“ 5 +”. In 1913-1915 together with V.Tatlin he worked in Moscow studio “Tower” (“Башня”). In 1914, together with Larionov’s group took part in the exhibition – “№4. Futurists. Luchists. Primitive.” Under the announcement of mobilization he left for Prussia front. In 1915 he arrived on holiday in Tbilisi and married 19-years-old Valery Valishevskaja, sister of close friend Ziga Valishevsky, with whom he soon divorced. In 1917, wounded in hand Zdanevich returned home and joined the artistic life of Tbilisi. Together with L.Gudiashvili, A.Bazhbeuk-Melikov and Z.Valishevsky he continued to search for Pirosmani’s works. In October 1917, in Tbilisi, on Golovin Avenue №10, in the cellar of the known shop”Blanc et Noir”, Zdanevich organized the exhibi-

tion of his works. He became one of the members of group “Futuristic syndicate” and university “Футурвсёучбище” (together with A.Kruchyonyh, I.Zdanevich, and I.Terentev). He co-operated with A.Kruchyonyh and V.Kamensky as the illustrator of books He designed futuristic books: Kamenski and Kruchyonyh “1918”, Kruchyonyh “Учитесь худоги”and “Малохолия в капоте”, I.Terentev “17 ерундовых орудий”, “Рекорд нежности ”and “A.Кручёных грандиозарь” In 1918-1919 he decorated the walls of Tbilisi cafe and clubs - “Boat of Argonauts» and «the Fantastic dukhan». Together with other artists he designed the collection of the poet-futurists, devoted to Sofia Melnikova “Софiи Георгiевнъ Мельниковой. Фантастическiй кабачёк.Тифлис. 1917.1918.1919”. In 1919 Zdanevich, together with L.Gudiashvili, A.Bazhbeuk-Melikov, N.Goncharova and I.Terentev took part in designing of the magazine “ARS”. In 1920 he attended lectures at the institute of development of the person, founded by G.Gurdzhiev in Tbilisi. The same year Cyril Zdanevich left for Paris via Italy. There he used to meet with M.Larionov, N.Goncharova, the Tbilisi friends – L.Gudiashvili and D.Kakabadze. On the way home he met Ilija Zdanevich in Constantinople who was going to Paris. In 1921-1922 Cyril Zdanevich created series of graphic works, a part of which he sent to his brother to Paris. After the establishment of the Soviet power, on purpose to leave the country, he addressed the consulate of the USA for visa reception, but was refused and remained in the homeland. He was compelled to find compromise graphic language. Since this period he begins the active creative work in sphere of theatrically-decorative art. For many artists of the Soviet period this sphere gave the chance the artists to express their massage freely. From this point of view the plays “Gas” and “Man – Mass”, designed by Zdanevich in Tbilisi, are especially interesting, also the sketches for performance “Malshtrem” by Gr.Robakidze. In 1926 the collection of articles “N.Pirosmanashvili” was published. Cyril Zdanevich was the author of the foreword and one of the articles. In 1928-1930 he carried on his creative life and lived together with his family in Moscow, сo-operated with Mayakovski and futuristic group “Леф”, and also with Moscow theatre of Foreger. During the war he worked as a propagandist both in Moscow and in Tbilisi. From 1945 he was a member of the union of artists of Georgia. The first wave of mass reprisals of 1937 bypassed Cyril Zdanevich, but in 1949 he was exiled for 15 years to Vorkuta, Mordоvia. To Tbilisi K.Zdanevich returned in 1958. In 1959-1963 he lived in Tbilisi and Moscow, printed articles about creativity of Georgian artists, created the monography about Pirosmani. In 1963 he received a rank of the Honored Art Worker of the Georgian Soviet Socialist Republic. In 1966-1967, after long separation, in Paris he met his brother, Ilja Zdanevich. Cyril in Paris spent some months. In 1967 in Tbilisi his exhibition “Paris in the eyes of the artist” took place.

daviT kakabaZe. 1889. sof. kuxi, saqarTvelo – 1951. Tbilisi, saqarTvelo fermweri, grafikosi, Teatrisa da kinos mxatvari, xelovnebis Teoretikosi, gamomgonebeli, pedagogi daviT kakabaZem dawyebiTi samxatvro ganaTleba quTaisSi miiRo, paevskisa da v. krotkovis samxatvro skolaSi.

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1901 wels Caabara quTaisis gimnaziaSi. 1908 wels Seqmna naxatebis seria imereTis Temaze. maTgan ramdenime v. guniam Jurnal `saqarTveloSi~ dabeWda. quTaisis gimnaziis direqciam kakabaZis namuSevrebis gamofena moawyo. kakabaZe dainteresda Teatris mxatvrobiT da Seasrula dekoraciebi xonis axalgaxsnili Teatris speqtaklisTvis. amave periodSi igi fotografiam gaitaca. 1910 wels saqarTvelos marganecis mrewvelobis sazogadoebis stipendiiT Caabara peterburgis universitetis fizika-maTematikis fakultetze, paralelurad swavlobda l. dimitriev-kavkazskis samxatvro saxelosnoSi. 1912 wels peterburgis universitetis samecniero wris krebulSi dabeWda naSromi `qarTuli xatebis moWedilobis saxeebi~. 1914 wels peterburgis universitetSi profesor d. ainalovis leqciebs eswreboda xelovnebis istoriaSi. gatacebuli iyo kubizmisa da kubofuturizmis mimdinareobebiT. kakabaZe dauaxlovda peterburgis avangardul samxatvro wres da gaiziara maTi Sexedulebebi Tanamedrove xelovnebis ganviTarebis principebis Sesaxeb. 1914 wels p. filonovTan, a. kirilovasa da e. lason-spirovasTan erTad kakabaZem daafuZna gaerTianeba «Интимная мастерская живописцев и художников» da gamoaqveyna manifesti «Сделанные картины». 1916 wels is gawevrianda axladSeqmnil qarTvel xelovanTa sazogadoebaSi. universitetis dasrulebis Semdeg gaiara petrogradis piroteqnikuri saswavleblis daCqarebuli kursi da Seyvanil iqna oxtinskis safantis qarxnis gamomcdelTa komisiaSi. 1917 wels kakabaZe samxedro warmomadgenlad gagzavnes Sliselburgis safantis qarxanaSi. 1918 wels samxedro samsaxuridan gaTavisuflebis Semdeg samSobloSi dabrunda. 1917 wels daiwyo muSaoba ferwerul seriaze `imereTi~. 1918 wels, universitetis dasrulebis Semdeg, TbilisSi dabrunda da bunebismetyvelebasa da xatvas aswavlida vaJTa pirvel gimnaziaSi. amasTanave, aqtiurad CaerTo dedaqalaqis samxatvro cxovrebaSi. aqveynebda werilebs xelovnebis Teoriuli sakiTxebis Sesaxeb Jurnal `Svid mnaTobSi~. 1919 wels d. kakabaZem s. sudeikinsa da l. gudiaSvilTan erTad moxata cisferyanwelebis artistuli kafe `qimerionis” kedlebi. monawileobda kafeebis _ `fantastikuri duqnisa~ da `farSevangis kudis~ moxatvaSi. amave wels mxatvris namuSevrebi eqsponirebul iqna `didebis taZarSi~ mowyobil qarTvel mxatvarTa gamofenaze. misi namuSevrebis umetesoba axalCamoyalibebulma suraTebis erovnulma galeream SeiZina. qarTvel xelovanTa sazogadoebis rekomendaciiT saqarTvelos demokratiuli respublikis mTavrobam kakabaZe gudiaSvilTan erTad swavlis gasagrZeleblad parizSi miavlina. parizSi saswavleblad Casul kakabaZes ukve Sesrulebuli hqonda imereTis peizaJebic da kubisturi avtoportretic. mas Tanabrad ainteresebda eqsperimentebi

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da novaciebi rogorc saxelovnebo, aseve samecniero sferoSi. misi es Tviseba - farTo azrovneba da movlenisa Tu sagnis arsis analitikuri wvdomis unari gansazRvravs am SesaniSnavi mxatvris universalobas. 1920-1921 wlebSi Seqmna ferweruli da grafikuli kompoziciebis seria `parizi~, ìalqniani navebi~, àyvavebuli baRis abstraqtuli formebi~, bretanSi mogzaurobis STabeWdilebiT ki _ akvarelis seria `bretani~. mis xelovnebaSi isaxeba figuratiuli xelovnebidan abstraqtuli xelovnebisken gaazrebuli da dasabuTebuli `gadasvla~. imereTis peizaJebis segmentebad gaSlili mxatvruli mTlianoba calkeuli geometriuli Tu abstraqtuli formebiT Sedgenil mxatvrul mTlianobad gardaiqmneba, romelic mayurebelSi uciloblad iwvevs realobidan miRebuli STabeWdilebis asociaciebs. kakabaZe bevrs muSaobda Tanamedrove xelovnebis Teoriul sakiTxebze. gamosca wignebi: `konstruqciuli suraTis Sesaxeb~ frangul enaze, `parizi. 1920. 1921. 1923. 1924~; `xelovneba da sivrce~. misi werilebi Tanamedrove xelovnebis Sesaxeb ibeWdeboda parizeli galeristis, leon rozenbergis, Jurnal “Bulletin de L’effort Moderne”-Si. 1921-1927 wlebSi monawileobda parizis damoukidebel mxatvarTa –“Les Indépendants” yovelwliur gamofenaSi. 1921 wels galerea `La Licorne~-Si moewyo qarTveli mxatvrebis _ d. kakabaZis, l. gudiaSvilisa da S. qiqoZis namuSevrebis gamofena. 1922 wels kakabaZem stereokinematografis sferoSi axali sistema Seqmna da gaaforma xelSekruleba m. miulersa da k. kobaxiZesTan ùsaTvalo stereokinematografis~ gamogonebaze, romlis patenti evropis ramdenime qveyanam Seisyida. 1926 wels sazogadoeba “Société Anonyme”-mma (damfuZneblebi: qeTrin draieri, marsel diuSani da man rei), romelic èqsperimentuli muzeumis~ saxeliTac iyo cnobili, niu-iorkis bruklinis muzeumSi Tanamedrove xelovnebis didi saerTaSoriso gamofena moawyo, sadac gamoifina kakabaZis namuSevrebic, ferweruli suraTebi da qandakeba `gamWoli Tevzi~, anu qandakeba Z. 1927 wels imogzaura germaniaSi, italiaSi, saberZneTSi. amave wels samSobloSi dabrunda. 1928 wels qarTvel xelovanTa sazogadoebam moawyo mxatvris personaluri gamofena, romelsac araerTgvarovani Sefaseba mohyva. kakabaZem xeli moawera sarma-s – saqarTvelos revolucioner mxatvarTa asociaciis manifests. amave wels kakabaZem miiRo samxatvro akademiis miwveva da muSaoba daiwyo xatvisa da ferweris maswavleblad. 19291948 wlebSi Tbilisis samxatvro akademiis profesori iyo, xolo 1933-1942 wlebSi_proreqtori. 1934 wlamde mxatvars arcerTi ferweruli namuSevari ar Seuqmnia. kakabaZe k. marjaniSvilma quTaisis dramatul TeatrSi miiwvia. pirveli speqtakli, romelic mxatvarma gaaforma, iyo e. tol-

eris `hopla, Cven vcocxlobT~. 1928 wlidan aqtiurad moRvaweobda kinoSic (m. kalatoziSvilis `jim SvanTe~, d. rondelis `dakarguli samoTxe~). 1931 wels xelmZRvanelobda kinofilm `saqarTvelos uZvelesi Zeglebis~ gadaRebas. 1934 wlidan kakabaZis xelovneba, rogorc socialisturi xelovnebisTvis miuRebeli, mkveTri kritikis obieqti gaxda. 1942 wels kakabaZe gaaTavisufles samxatvro akademiidan. mravalmxrivi niWiT dajildoebuli mxatvari ganagrZobda muSaobas xelonebis Teoriul sakiTxebze. ikvlevda qarTuli ornamentis genezissa da mis tipebs. igi moulodnelad gardaicvala. d. kakabaZis xelovneba, figuratiulic da abstraqtulic, organulad esatyviseba qarTuli xelovnebis ganviTarebis magistralur xazs. tradiciuli mxatvruli formis gaazrebisa da analizis Sedegad novaciuri mxatvruli meTodis Camoyalibebis TvalsazrisiT daviT kakabaZes axal qarTul profesiul xelovnebaSi gansakuTrebuli adgili uWiravs.

David Kakabadze. 1889. Village Kuhi, Georgia-1951. Tbilisi, Georgia Painter, graphic-artist, artist of theatre and cinema, theorist of arts, inventor, teacher David Kakabadze received the initial art education in Kutaisi, at art school of Paevsky and V.Krotov. In 1901 he started to study in the Kutaisi grammar school. In 1908 he created series of drawings on Imereti theme. Some of them were printed by V.Gunija in magazine “Saqartvelo”. The management of Kutaisi grammar school arranged the exhibition of his works. Kakabadze took a great interested in theatrical art and executed stage scenery for performance of Khony youth theatre. At the same time he takes a great interest in photography. In 1910 with the grant of the society manganese industry of Georgia he started to study in Petersburg University at physical and mathematical faculty, in parallel he studied in the art workshop of L.Dimitriev-Caucazski. In 1912 in the collection of the society of scientific circles of Petersburg University the work “The Version of Georgian chased icons” was printed. In 1014 he attended lectures on history of art at professor D.Janalov at Petersburg University, was carried away by cubo-futurism and cubism. Kakabadze approached the avant-garde art circle and shared their convictions about principles of development of the modern art. In 1914 Kakabadze, together with P.Filonov, A.Kirilova and E.Lason-Spirova founded the society “The Intimate workshop of painters and artists” (“Интимная мастерская живописцев и художников”) and published the manifesto “Made pictures” (“Сделанные картины”). In 1916 he became the participant of a new-founded society of the Georgian artists.

After the graduating of the University he studied at intensive courses of Petrograd pyrotechnic school and entered into the commission of examiners of Ohtinsky small shot factory. In 1917 Kakabadze was sent as a military representative to Shlisselburg small shot factory. In 1918, after finishing the military service, he returned home. In 1917 he started to work over the series “Imereti”. In 1918, after the graduation of the university, he returned to Tbilisi and taught natural sciences and drawing in the first man’s grammar school. He also actively joined the art life of the capital city. He published articles about questions of the theory of art in the magazine “Seven Luminaries”. In 1919 David Kakabadze together with S.Sudejkin and L.Gudiashvili decorated the walls of artistic cafe “Qimerioni”, which belonged to “Tsisperkancelebi”. He took part in decoration of cafe “The Fantastic dukhan” and “The Peacock tail”. The same year works of the artist were exhibited at “The Glory Temple” at the exhibition of Georgian artists. The majority of his pictures were purchased by just founded picture gallery. Under the recommendation of the society of Georgian artists, the government of the Georgian Democratic Republic sent Kakabadze together with Gudiashvili to Paris for study continuation. In 1920-1921 series of pictorial and graphic works were created: “Paris”, “Sailing boats”, «Abstract forms of a blossoming garden», and after travel to Brittany – series of water color “Brittany”. In his creativity the intelligent and documentary transition from figurative art - to abstract is visible. Kakabadze worked much over theoretical questions of the modern art. He published the books: “About constructive drawing” in French, “Paris.1920.1921.1923.1924”; “Art and space “. His articles about the modern art were published in the magazine “Bulletin de L’effort Moderne”, which belonged to the organizer of art exhibitions, Leon Rosenberg. In 1921-1927 he participated at an annual exhibition of the Parisian free artists “Les Independants”. In 1921 in the gallery”La Licorne” the exhibition of works of the Georgian artists - D.Kakabadze, L.Gudiashvili and Sh.Kikodze was arranged. In 1922 Kakabadze in stereo cinematography sphere invented new system and signed the contract with M.Muller and K.Kobahidze about the invention “Stereo cinematography without glasses”; the patent of which was purchased by some countries of Europe. In 1926 the society “Societу Anonyme” (founders: Katherine Drier, Marseilles Dushan and Man Yards), which was also known under the name of “The Experimental museum”, in Brooklyn museum of New York arranged a large international exhibition of modern art, where Kakabadze’s works were exposed as well: pictorial works and the statue “Throughout the Fish”, or the Statue Z. In 1917 he traveled across Germany, Italy, and Greece. The same year he returned home. In 1928 the society of Georgian artists arranged the personal exhibition of the artist, which was followed by different opinions. Kakabadze signed the manifesto of Association of Georgian Artists-revolutionaries. The same year Kakabadze received the invitation of Academy of arts and began to work as the teacher of drawing and painting. In 1929 - 1948 Kakabadze was a professor of Tbilisi Academy of arts, and in 1933-1942 he was the pro-rector (vice-chancellor). Till 1934 the artist did not create any pictorial work.

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Kote Marjanishvili invited Kakabadze to work in Kutaisi drama theatre. The first performance, which was arranged by the artist, was “Hop, we are alive” by E.Toller. From 1928 he actively worked at cinema (M.Kalatozishvili “Jim Shvante”, D.Rondeli “Lost Paradise”). In 1931 he directed the film shooting “Ancient monuments of Georgia”. From 1934 the creativity of Kakabadze became the object of sharp criticism, as unacceptable for socialist art. In 1942 Kakabadze was dismissed from work in Academy of arts. Having been talented, the artist continued to work over theoretical questions of art. He researched the genesis of the Georgian ornament and its types. He died unexpectedly.

vasili kandinski. 1866. moskovi, ruseTi _ 1944. parizi, safrangeTi fermweri, grafikosi, ilustratori, scenografi, abstraqtuli xelovnebis erT-erTi fuZemdebeli da Teoretikosi, pedagogi nerCinebis vaWarTa gvaris, tunguseli Tavadebis-gantimirovebisa da baikalispireTis uZvelesi gvaris STamomavali kandinski moskoveli komersantis ojaxSi daibada. mcire asakSi ojaxTan erTad evropasa da ruseTis sxvadasxva kuTxeSi mogzaurobda. mamis avadmyofobis gamo ojaxi 1871 wels odesaSi gadasaxlda, sadac mamamisi Cais fabrikis mmarTveli iyo. deidam adreuli asakidan gauRviva interesi musikis, zRapris, mogvianebiT, rusuli literaturisadmi. 1876-1885 wlebSi swavlobda odesis klasikur gimnaziaSi. paralelurad mecadineobda musikasa da ferweraSi. 1885 wels Caabara moskovis universitetis iuridiul fakultetze. 1889 wels avadmyofobis gamo swavla sami wliT Sewyvita da universiteti mxolod 1892 wels daasrula pirveli xarisxis diplomiT. 1888-1889 wlebSi igi gaxda saimperatoro sazogadoebis bunebismetyvelebis, eTnografiisa da anTropologiis moyvarulTa sazogadoebis eTnografiuli ganyofilebis wevri da monawileobda vologdis guberniaSi mowyobil eTnografiul eqspediciaSi. 1895 wels muSaobda moskovSi kuSneris stambis samxatvro direqtorad. 1896 wels kandinski daeswro frangul industriul-samxatvro gamofenas moskovSi, sadac mones `Tivis zvinis~ naxvam gardatexa moaxdina mis cxovrebaSi. Rrma STabeWdileba iqonia agreTve vagneris `loengrinma~, romelic

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moskovis didi Teatris orkestris SesrulebiT moismina. 1897 wels kandinskim miiRo miwveva derptis (axl. tartu) universitetSi profesoris Tanamdebobaze, magram mas Tavisi momavali ukve gadawyvetili hqonda. kandinskim Tavi daaneba mecnierebas, 1897 wels miunxenSi gaemgzavra da sloveni mxatvris_anton aSbes skola-studiaSi Caabara. studiaSi masTan erTad swavlobdnen i. grabari, d. Kkardovski, a. iavlenski, m. veriovkina, v. baxteevi da sxvebi. 1900 wels kandinskim Caabara miunxenis samxatvro akademiaSi, cnobili germaneli mxatvris_hans fon Stukis klasSi. monawileobda moskovsa da odesaSi mowyobil gamofenebSi. 1901 wels Camoayaliba mxatvarTa gaerTianeba _“Phalanx”. am organizaciis arsebobis oTxi wlis manZilze Tormeti gamofena moewyo. 1901-1914 wlebSi kandinski xatvasa da ferweras aswavlida am gaerTianebis bazaze Seqmnil skolaSi. mis moswavleTa Soris iyo axalgazrda mxatvari gabriela miunteri, momavalSi misi Tanamoazre da megobari. am periodSi kandinski gatacebuli iyo iugendstiliT. muSaobda gamoyenebiTi xelovnebisa da grafikis dargSi. 1903-1907 wlebSi imogzaura evropasa da CrdiloeT afrikaSi. monawileobda gamofenebSi. 1903 wels Seqmna graviurebis albomi `leqsebi sityvebis gareSe~, romelic 1904 wels gamoica moskovSi. 1907 wels germaniaSi dabrunda da murnauSi dasaxlda. fovistebis xelovnebis gavleniT misi ferwera metad dekoratiuli gaxda, ukve gamoikveTa figuratiulidan abstraqtuli xelovnebisken gadasvlis tendencia. 1909 wels Camoayaliba “Neue Künstlervereinigung München”, romlis prezidentic Tavad iyo. gaerTianebis wevrebi frangi kubistebi, germaneli eqspresionistebi da rusi kubofuturistebi iyvnen,MAmaT Soris: a. kubini, a. erbsle, a. kanoldi, v. bexteevi, m. veriovkina, v. izdebski, g. miunteri, a. iavlenski. gamofenebSi monawileobis misaRebad kandinskim miiwvia Zmebi burliukebic. Kv. kandinski monawileobda v. izdebskis mier organizebul saerTaSoriso (odesa, moskovi, kievi, riga) gamofenebSi. katalogSi daibeWda misi statia «Содержание и форма». Aam periodSi SeimuSava ferweraSi feris ritmuli gamoyenebis koncefcia. 1909-1910 wlebSi kandinskim mTlianad uaryo sagnobrioba da abstraqtuli suraTis sami tipi SeimuSava: `impresia~, `improvizacia~ da `kompozicia~. D 1910 wels monawileoba miiRo moskovSi `bubnovi valetis~_«Бубновый валет» gamofenaSi. 1911 wels dauaxlovda germanel eqspresionistebs_a. makes, f. marks da maTTan erTad Camoayaliba almanaxi `lurji mxedari~ (“Der Blaue Reiter”). `miunxenis axali mxatvruli gaerTianebis~ datovebis Semdeg monawileoba miiRo `lurji mxedris~ gamofenaSi. Aamave wels moskovSi daibeWda wigni, abstraqcionizmis pirveli Teoriuli dasabuTe-

ba. misi rusuli varianti «О духовном в искусстве» moxsenebis saxiT peterburgSi sruliad ruseTis mxatvarTa yrilobaze waikiTxa n. kulbinma. kandinski ikvlevda feradovan SeTanxmebaTa sistemebs, disonansebsa da feris zemoqmedebis Taviseburebebs. feris, xazisa da kompoziciis asociaciur TvisebaTa analizisas igi eyrdnoboda goeTesa da filip runges feris Teorias, rudolf Staineris Teosofias. ruseTis oqtombris revoluciis Semdeg, iseve rogorc bevri sxva avangardisti mxatvari, kandinski aqtiurad monawileobda sazogadoebriv cxovrebaSi. 1918-1919 wlebSi kandinski iyo saxalxo ganaTlebis komisariatis saxviTi xelovnebis ganyofilebis kolegiis wevri, 1919-1921 wlebSi_sruliad ruseTis Semsyidveli komisiis Tavmjdomare, moskovis universitetis sapatio profesori. 1919-1921 wlebSi gamoaqveyna eqvsi statia, sadac Teoriulad asabuTebda sakuTari ferweris koncefcias. 1920-1921 wlebSi monawileobdaB samxatvro kulturis institutis _ИНХУК organizebaSi. man Camoayaliba institutis programa da xelmZRvanelobda monumenturi xelovnebis seqcias, magram, a. rodCenkosa da mis jgufTan Teoriul SexedulebebSi principuli uTanxmoebis gamo, male iZulebuli gaxda, TanamoazreebTan erTad daetovebina es organizacia. 1921 wels igi iyo saxviTi xelovnebis samxedro komisariatis samuzeumo biuros mecnier-konsultanti. 1921 wels kandinski dainiSna ruseTis samxatvro mecnierebaTa akademiis vice-prezidentad. akademiis davalebiT gaemgzavra berlinSi evropis qveynebTan kulturuli urTierTobis damyarebis mizniT. 1922 wels bauhauzis damaarsebel b. Ggropiusis miwveviT kandinski bauhauzSi xelmZRvanelobda analitikuri naxatis klassa da kedlis mxatvrobis saxelosnos. 1924 wels mxatvrebTan_l. feiningerTan, a. iavlenskisa da p. kleesTan erTad Seqmna jgufi `oTxi lurji~. Bbevrs muSaobda Teoriul sakiTxebze. 1928 wels miiRo germaniis moqalaqeoba. 1933 wels, nacistebis mier bauhauzis daxurvis Semdeg, kandinski safrangeTSi gaemgzavra. mogvianebiT (1939) man safrangeTis moqalaqeoba miiRo da sicocxlis bolomde iq darCa. 1937 wels kandinskis suraTebi sxva mxatvar-avangardistTa namuSevrebTan erTad eqsponirebul iqna miunxenSi gamofenaze_`degeneratiuli xelovneba~. Vasily Kandinsky. 1866. Moscow, Russia – 1944. Paris, France Painter, graphic-artist, illustrator, artist of scenography, one of the founders and theorists of abstract art, teacher The descendant of merchant family of Nerchin, Tungus landowners Gantimirov and the ancient family of Transbaikalie – Kandinsky was

born in the family of Moscow businessman. Since early years with parents he traveled to different corners of Russia and Europe. Because of illness of the father in 1871the family moved to Odessa where the father was the managing director of tea factory. From the early childhood his aunt developed in him interest to music, fairy tales, later – to the Russian literature. In 1876-1885 he studied in Odessa classical grammar school. In parallel with studying in grammar school he learnt music and painting. In 1885 he passed entrance examinations in Moscow University on faculty of law. In 1889, because of illness, interrupted study for three years and only in 1892 finished university with the diploma of the first degree. In 1888-1889 he became a member of ethnographic department of the imperial society of natural sciences, ethnography and anthropology amateur and participated in the ethnographic expedition arranged in the Vologda province. In 1895 he worked in Moscow as the art director of Kushner Printing house. In 1896 Kandinsky was present at the French industrially-art exhibition in Moscow. Seeing Monet’s “Haystack” had critical value in his creativity. Wagner’s “Loengrin” had as well great impression on him which was performed by Moscow Bolshoi theatre. In 1897 Kandinsky received the invitation in University Derpt (now Tartu) on the post of professor. But the decision about his own future was already accepted. Kandinsky refused the science, in 1897 left for Munich and took entrance examinations in school-studio of Slovene artist Anton Ashbe. In studio together with him studied: I.Grabar, D.Kadrovsky, A.Javlensky, M.Veryovkina, V. Bahteev and others. In 1900 Kandinsky took entrance examinations in Academy of arts of Munich, in the class of known German artist Hans von Shtuk. He took part in the exhibitions arranged in Moscow and Odessa. In 1901 he organized the association of artists – “Phalanx”. During four years of existence of this organization twelve exhibitions had been arranged. In1901-1914 Kandinsky learnt drawing and painting at the school created on the basis of this association. Among his pupils there was a young artist Gabriela Mjunter, his future adherent and friend. During this period Kandinsky was carried away by Jugendstile. He worked in the sphere of applied art and graphics.В 1903-1907 he traveled in Europe and northern Africa; took part in exhibitions. In 1903 he created the album of engravings “Verses without words”(Стихи без слов) which in 1904 was published in Moscow. In 1907 he returned to Germany and settled in Murnau. Under the influence of fouvism his painting becomes more decorative; the tendency of transition from figurative to abstract art already comes to light. In 1909 he organized the society “Neuter Künstlervereinigung München”, the president of which he was himself. French cubits, German expressionists and Russian cubfuturists were the members of the society, among them were: A.Kubin, A.Erbsle, A.Kanold, V.Behteev, V.Veryovkina, V.Izdebsky, G.Mjunter, and A.Javlensky. For participation in exhibitions Kandinsky invited brothers Burluk. V. Kandinsky took part in the international exhibitions (Odessa, Moscow, Kiev, and Riga). In the catalogue his article “The Substance and the form” was printed. During this period he developed the concept of rhythmic usage of color in painting. In 1909-1910 Kandinsky complete-

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ly denies materiality and develops three types of an abstract picture: “Impression”, “Improvisation” and “Composition”. In 1910 he took part in the exhibition “Бубновый валет” in Moscow. In 1911 he made friends with German expressionists - A. Make, F.Mark and together with them founded the almanac “Blue horseman”(“Der Blaue Reiter”). After he left the “New art association of Munich”, he took part in an exhibition” Blue horseman “.The same year in Moscow the book “The first theoretical substantiation of abstractionism” was printed. Its Russian variant “About spiritual in art”, in the form of the report, was read by N.Kulbin in Petersburg at the Congress of artists of all Russia. Kandinsky investigated system of color coordination, a discord and features of influence of color. Analyzing binding properties of color, a line and a composition he leant on theory of colors of Goethe and Phillip Runge, philosophy of Rudolf Shtajner. After the October Socialist revolution in Russia, as well as many other artists of avant-garde, Kandinsky actively participated in the public life of the country. In 1918-1919 Kandinsky was a member of board of department of fine arts of the commissariat of national education, in 1919-1921 - the chairman buy up commissions of all Russia, the Honored professor of Moscow University. In 1919-1921, six articles, where he theoretically proved the concept of own painting, were published. In 1920-1921 he took part in the organization of Institute of Art culture –“ИНХУК”. He created the program of the institute and supervised over the section of monumental art, but because of basic contradictions in theoretical questions with A.Rodchenko and his group, very soon, with the adherents, had to leave this organization. In 1921 Kandinsky was appointed the vice-president of Academy of Art sciences of Russia. On the assignments of the academy he went to Berlin in order to establish cultural contact with the countries of Europe. In 1922, under B.Gropius’s invitation, founder of Bauhaus, Kandinsky there supervised over a class of analytical drawing and the workshop of wall painting. In 1924, together with the artists – L.Fejninger, A.Javlensky and P.Klee he created group “Four dark blue”. He worked much over theoretical questions. In 1928 he was naturalized as German citizen. In 1933, after closing Bauhaus by Nazis, Kandinsky left for France. Later (1933) he was naturalized as French citizen and till the end of the life remained there. In1937 Kandinsky’s pictures, together with pictures of other artists of avant-garde, were exhibited at Munich at the exhibition – “Degenerate Art”.

evgeni (gerc) kibriki. 1906. voznesenki, ukraina _ 1978. moskovi, ruseTi fermweri, grafikosi, ilustratori, pedagogi ev. kibriki bavSvobidanve gatacebuli iyo xatviT. 1922 wels Caabara odesis samxatvro institutSi da swavlobda v. volokidinTan. 1925 wels sacxovrebelad gadavida

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leningradSi da swavla ganagrZo umaRles samxatvro teqnikur institutSi (ВХУТЕИН). studentur klubSi kibrikma moismina p. filonovis sityva analitikuri xelovnebis Sesaxeb, romelmac didi STabeWdileba moaxdina masze. 1926 wels igi gaerTianda filonovis jgufSi «Мастера аналитического искусства». 1927-1930 wlebSi iyo am gaerTianebis erT-erTi aqtiuri wevri. misi pirveli namuSevrebi filonovis Zlieri gavleniTaa Sesrulebuli. organizaciis daSlis Semdeg, 1931 wlamde, muSaobda muSaaxalgazrdobis saxviTi xelovnebis studiaSi «Изорам», romelic mowodebuli iyo, ganeviTarebina masobrivi mxatvruli TviTSemoqmedeba. 1932 wels, filonovis winaaRmdeg agorebuli ideologiuri omis dros, kibriki yofili maswavleblis winaaRmdeg mwvave kritikiT gamovida, riTac `filonovelebis~ ukmayofileba daimsaxura. 1943 wlidan sacxovreblad moskovSi gadavida. am periodidan, ZiriTadad, wignis grafikaSi muSaobda. adreul namuSevrebSi (i. tinianovi. `poruCiki kiJe~) aSkarad Cans analitikuri xelovnebis meTodikis elementebi, romelic mogvianebiT akademiuri xelovnebisa da ar nuvos mxatvruli principebiT Seicvala (r. rolani. `kola bruniono~, S. de kosteri. `til ulenSpigeli~). 1942 wels samaryandSi xelmZRvanelobda samxatvro akademiis grafikul saxelosnos, momdevno wels moskovSi dabrunda. sabWoTa xelisuflebis mmarTvelobis wlebSi eweoda farTo sazogadoebriv saqmianobas. 1949 wels airCies ssrk samxatvro akademiis wevr-korespodentad. 1954 wlidan moskovis surikovis saswavleblis profesoria, 1962 wlidan ki_ akademikosi, xelmZRvanelobda dazguri grafikis saxelosnos. 1984 wels gamosca mogonebebis wigni «Дела и мысли художника», romelSic Seecada, aexsna leningradis avangardTan uTanxmoebis mizezebi. lit.: Турутина С., Лошенков А., Дьяченко С. Авангард, остановленный на бегу. М., 1989. Николай Иосифович Витинг. Каталог. Живопись. Графика. М., 1977. asi suraTi – sabWoTa respublikebis xelovnebis ganyofilebis axal SenaZenTa gamofena. katalogi. Tb., 1980. Энциклопедия русского авангарда. т. I. М., 2013. Eugenie (Hertz) Kibrick. 1906. Voznesensk, Ukraine – 1978. Moscow, Russia Painter, graphic-artist, illustrator, teacher Eugenie Kibrick was keen on drawing since the childhood .In 1922 he entered the Odessa Art Institute and studied at V.Volokidin. In 1925 he moved to live to Leningrad and continued to study in the Higher Art Technical Institute (ВХУТЕИН). In student’s club Kibrick listened to the report of P.Filonov about analytical art which had a big influence on him. In 1926 he entered Filonov’s group “Мастера аналитического искусства”. In 1927-1930 he was one of active members of this society. His first works are executed with great influence of Filonov. After disintegration of the society till 1931 he worked in the studio of fine arts of young workers “Изорам”; their appeal was the development of mass amateur activities. In 1932, during the ideological war against Filonov, Kibrick came out with sharp criticism against the former teacher and deserved discontent of Filonov’s followers. From 1943 he moved to live to Moscow. From that time on he basically worked in the book graphic. In his early works

(I.Tinjanov. Lieutenant Kizhe) are clearly visible the elements of analytical art, which were replaced subsequently by the academic art and art principles of Art Nouveau (R.Rollan “Kola Brunon”, Sh.de Coster “Till Ulenshpigel”). In 1942 he was the manager of the workshop of graphic-artists in the Academy of Arts in Samarkand, and following year he returned to Moscow. In the days of the rule of the Soviet power he carried out wide public work. In 1949 he was elected as the corresponding member of the Academy of Art of the Soviet Union. From 1954 he was the professor of Moscow Surikov School and in 1962 – became the academician and supervised over the easel painting workshop. In 1984 Kibrick published the book of memoirs “Affairs and thoughts of the artist” (“Дела и мысли художника”) where hе tried to explain the reason of disagreements with the Leningrad avant-garde.

gamarTul qarTvel mxatvarTa gamofenaSi. 1920 wels qarTvel xelovanTa sazogadoebis rekomendaciiT saqarTvelos demokratiuli respublikis mTavrobis mier daniSnuli stipendiiT swavlis gasagrZeleblad parizSi gaemgzavra. 1921 wels monawileobda ”Les Indépendants”-is yovelwliur gamofenaSi. 1922 wels parizis galerea ”La Licorne”-Si moewyo S. qiqoZis, d. kakabaZisa da l. gudiaSvilis gamofena. tuberkulioziT mZimed daavadebuli qiqoZe 27 wlis asakSi gardaicvala. misi namuSevrebi saqarTveloSi mamam da d. kakabaZem daabrunes. 1928 wels saqarTvelos xelovanTa sazogadoebam moawyo Salva qiqoZis personaluri gamofena da gamosca mxatvris namuSevarTa katalogi.

Shalva Kikodze. 1894. Village Bakhvi, Georgia – 1821. Fraeburg. Germany Painter, graphic-artist, caricaturist Salva qiqoZe. 1894. sof. baxvi, saqarTvelo – 1921. fraeburgi. germania fermweri, grafikosi, karikaturisti Salva qiqoZe 1902-1912 wlebSi swavlobda Tbilisis saTavadaznauro gimnaziaSi. xatviT gatacebul niWier mowafes gimnaziis SenobaSi saxelosno gamouyves. 1914 wels gamoaqveyna pirveli SarJi satirul-iumoristul Jurnal `laxtSi~. muSaobda wignis grafikasa da karikaturis JanrSi. rusulidan Targmna da ilustraciebi Seasrula artur konan doilis wignisTvis `Serlok holmsis Tavgadasavali~. mxatvrulad gaaforma p. mirianaSvilis mier gamocemuli xalxuri Tqmuleba `amiranis leqsi~. 1914 wels qarTvelTa Soris wera-kiTxvis gamavrcelebeli sazogadoebis stipendiiT Caabara moskovis universitetis iuridiul fakultetze. 1915 wels qiqoZem sabuTebi Seitana moskovis ferweris, qandakebisa da xuroTmoZRvrebis saswavlebelSi, Tumca mxolod Semdeg wels Caricxes ferweris dawyebiT klasSi, sadac mxatvarma ori weli (1916-1918) iswavla. TanamSromlobda n. balievis Teatr-kabare «Летучая мышь»-Tan. 1916 wels ardadegebze samSobloSi Camosuli mxatvari gawevrianda d. SevardnaZis mier dafuZnebul qarTvel xelovanTa sazogadoebaSi. monawileobda qarTvel xelovanTa da saqarTvelos saistorio-saeTnografio sazogadoebebis mier mowyobil samecniero eqspediciaSi nabaxtevis eklesiaSi. qiqoZem cxeniT imogzaura aRmosavleT saqarTvelos mTianeTSi, kaxeTsa da aWaraSi. mogzaurobis STabeWdilebiT Seqmna ferweruli kompoziciebi. 1915-1919 wlebSi aqveynebda karikaturebs Teatralur Jurnal «Рампа и жизнь»-Si fsevdonimiT chalico. 1918 wels samSobloSi dabrunda da aqtiurad CaerTo Tbilisis samxatvro da sazogadoebriv cxovrebaSi. amave wels igi airCies qarTvel xelovanTa sazogadoebis mdivnad. TanamSromlobda satirul-iumoristul JurnalebTan: `Teatri da cxovreba~, `Teatri da musika~. amave wels giorgi jabadaris qarTul dramatul sazogadoebasTan arsebuli samxatvro-sasceno xelovnebis studiis xelmZRvaneli iyo. mxatvrulad gaaforma speqtakleb9 _ jakosis `viTa foTlebi~ da bries drama `sarwmunoeba~. 1919 wels monawileobda `didebis taZarSi~

Shalva Kikodze, in 1902-1912, studied at the Tbilisi gymnasium for noble families. For the talented pupil, carried away with drawing, within the precincts of gymnasium was made a workshop. In 1914 he published the first cartoon in satirical-comic magazine “Lahti”. He worked in book graphic and caricature genre. He translated from Russian and executed illustrations for the book of Sir Arthur Conan Doyle “Adventures of Sherlock Holms “, decorated the national legend, published by P.Mirianashvili “Verse of Amiran”. In 1014, with the grant of the Society of liquidation of illiteracy in Georgia, he passed the entrance examinations to Moscow University, faculty of law. In 1915 Kikodze brought documents in the Moscow school of painting, sculpture and architecture, though only the next year he was enlisted in the initial class of painting, where he studied two years (1916-1918). He co-operated with N.Baliev theatre-cabaret “Bat”. In 1916 Kikodze arrived on a vacation home and became a member of the society of Georgian artists which had been founded by D.Shevardnadze. He took part in the scientific expedition in church Nabahtevi, which was organized by the “society of the Georgian artists” and “historic and ethnographic society”. Kikodze traveled to mountains of east Georgia, Kakheti and Ajara on horseback. He created picturesque compositions on impressions of travel. In 1915-1919 he published caricatures in theatrical magazine “Рампа и жизнь” under the pseudonym “chalico”. In 1918 he returned home and joined the active Tbilisi art and public life. The same year he was elected to be the secretary of the society of Georgian artists. He co-operated with satiric-comic magazines: “Theatre and life”, “Theatre and music”. He decorated performances – “As leaves” of Jackos and drama of Bries “Belief”. In 1919 he took part in the exhibition of the Georgian artists organized in “Glory Temple”. In 1920 under the recommendation of the society of the Georgian artists and with the grant, appointed by the government of the Georgian Democratic Republic, he left for Paris to continue studies. In 1921 he took part in the annual exhibition “Les Independants”. In 1922 in the Parisian gallery “La Licorne” the exhibition of works of Sh.Kikodze, D.Kakabadze and L.Gudiashvili took place. Sick of tuberculosis Kikodze died when he was 27 years old. His works were returned home by his father and D.Kakabadze. In 1928 society of the Georgian artists organized the personal exhibition of Shalva Kikodze’ works and published the catalogue of his works.

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ervand qoCari. 1899. Tbilisi, saqarTvelo _ 1979. erevani, somxeTi fermweri, moqandake, pedagogi e. qoCari daibada RviniT movaWris, Tbiliseli simon qoCarianis, ojaxSi. nersesis sasuliero seminariaSi swavlisas misi gansakuTrebuli monacemebi mxatvarma aruTun SamSinianma SeniSna. 1914-1918 wlebSi qoCarma swavla daiwyo kavkasiis natifi xelovnebis wamaxalisebeli sazogadoebis ferwerisa da qandakebis skolaSi e. TaTevosianTan. 1918 wels megobar karo alabianTan erTad gaemgzavra moskovSi da swavla ganagrZo umaRles samxatvro teqnikur institutSi (ВХУТЕМАС) p. konCalovskisTan. am Sexvedram ganapiroba qoCaris interesi gaerTianeba «Бубновый валет»-is mxatvrebisadmi, romelTa Semoqmedeba xalxuri da franguli xelovnebis tradiciebs eyrdnoboda. 1919 wels monawileobda TbilisSi mxatvarTa da xelovanTa sazogadoebis mier didebis taZarSi mowyobil `suraTebis meore saSemodgomo gamofenaSi~. 1921 wels konstantinopolis gavliT evropaSi gaemgzavra. 1922-1923 wlebSi veneciaSi cxovrobda da xatvas aswavlida wminda lazares somxur monasterSi. 1923-1936 wlebSi parizSi cxovrobda. aqtiurad monawileobda `parizis skolis~ gamofenebSi. am periodis namuSevrebSi Tavs iCens kubizmisa da siurrealizmis gavlena, romelic mxatvrisTvis damaxasiaTebeli dekorativizmiTaa gajerebuli. parizSi yofnisas qoCarma SeimuSava axali mxatvrul-plastikuri sistema “Penture dans I’espase”, romelic moicavda meoTxe drois ganzomilebasac. qoCarma Seqmna skulpturisa da ferweris Taviseburi sinTezi, poliqromuli konstruqcia xis, metalisa da minisagan, romelic garSemovlas iTxovda. mogvianebiT ki gamoiyena eleqtroZravic. es konstruqciebi, mobilebis msgavsad, sakuTari RerZis garSemo brunavda. am namuSevrebis prezentacia qoCarma 1928 wels galerea “Van Lera”-Si warmoadgina da franguli kritikis dadebiTi Sefasebac daimsaxura. 1936 wels m. diuSanTan, x. mirosTan, e. pikabiasTan, v. kandinskisa da r. delonesTan erTad xeli moawera Manifeste de Diamansion. 1936 wels qoCarma moulodnelad gadawyvita sabWoTa kavSirSi dabruneba. jer TbilisSi Cavida, sadac Tavis debTan parizidan wamoRebuli namuSevrebi datova, Semdeg ki erevanSi gaemgzavra. 1950-ian wlebamde formalizmis braldebiT ganicdida devnasa da Seviwroebas. mcire xniT dapatimrebulic iyo da mxolod gavleniani megobrebis (karo alabiani da anastas miqoiani) daxmarebiT SeZlo patimrobidan Tavis daRweva. 1959 wels miiRo pirveli saxelmwifo SekveTa da Seqmna daviT sasuncis Zegli, romelic erevanSi dgas. 1960-ian wlebSi kvlav daubrunda poliqromul kinetikur xelovnebas.

Ervand Qochar. 1899. Tbilisi, Georgia – 1979. Yerevan, Armenia Painter, sculptor, teacher Ervand Qochar was born in the family of Simon Qocharyan, the native of Tbilisi, wine monger. During study in theological seminary “Nerses” his talent was noticed by artist Arutjun Shamshinjan. In 1914-1918 Qochar started to study at the

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Caucasian school of Fine arts at E.Tatevosjan. In 1918, together with his friend Karo Alabjan,he moved to Moscow and continued to study at the Higher Technical Institute (ВХУТЕМАС) at P.Konchalovski. This meeting caused the interest Qochar to the artists of the society “Бубновый валет”, the creativity of which was based on the traditions of national and French art. In 1919 he took part in “The Second autumn exhibition of paintings”, arranged by the society of artists in the “Glory Temple” in Tbilisi. In 1921 he left for Europe through Constantinople. In 1922-1913 he lived in Venice and taught drawing in the Armenian monastery St. Lazarus. In 1923-1936 he lived in Paris and actively participated in exhibitions “Parisian school”. In the works of this period the influence of cubism and surrealism is felt, which is impregnated with decorativeness, so characteristic for the artist. Living in Paris Qochar developed the new artistic and plastic system “Penture dans I’espase”, which covered also the fourth dimension. Qochar created original synthesis of a sculpture and painting, polychromatic design of tree, metal and glass which should be bypassed around. Later he applied electromotor. These constructions were to turn about their own axis. Presentation of these works Kochar produced in gallery “Van Lera” in 1928 and deserved approval of French critics. In 1936 he, together with M.Djushan, H.Miro, E.Pikabia, V.Kandinsky and R.Delon signed “Manifeste de Diamansion”. In 1936 Qochar unexpectedly decided to return to the Soviet Union. At first he arrived to Tbilisi and left to his sisters the works brought from Paris, then he went to Yerevan. Till 1950 he was pursued and oppressed because of the accusation of formalism. He was even arrested for some time and only thanks to influential friends (Karo Alabjan and Anastas Mikoyan) could get rid of prison. In 1959 accepted the first state order and created a monument to David Sasunts, which is in Yerevan. In 1960s he again comes back to polychromatic kinetic art. aleqsei kruCionixi. 1886. sof olivka, ukraina _ 1968. moskovi, ruseTi poeti, literatori, mxatvari, rusuli futurizmis erT-erTi fuZemdebeli, zaumuri enis koncefciis avtori xersonis saqalaqo skolaSi samwliani ganaTlebis miRebis Semdeg, 1902-1906 wlebSi, a. kruCionixi odesis samxatvro saswavlebelSi swavlobda. swavlis damTavrebis Semdeg mcire xniT xersonis gimnaziaSi xatvis maswavleblad muSaobda, magram Zalian male sacxovreblad moskovSi gadavida. TanamSromlobda sxvadasxva gamomcemlobasTan. amave wels d. burliukis daxmarebiT dauaxlovda moskovis samxatvro da saliteraturo avangardis warmomadgenlebs, momaval Tanamoazreebs: v. kamenskis, v. xlebnikovs, e. guros, m. matiuSins. monawileobda samxatvro gamofenebSi. 1909 wels mcire xniT xersonesSi gaemgzavra. iq Sedga kruCionixis, rogorc literatoris debiuti. amave wels igi SeuerTda d. burliukis mier daarsebul rusi futuristebis literaturul wre «Гилея»-s. kruCionixi aqtiurad monawileobda peterburgis futuristul- literaturul RonisZiebebSi. 1912 wels daaarsa sakuTari gamomcemloba «ЕУЫ», sadac gamovida misi pirveli wignebi da daibeWda statiebi. kruCionixi iyo rusuli futuristuli liTografiuli wignebis gamocemis iniciatori. 1913 wels v. maia-

kovskisTan, d. burliuksa da v. xlebnikovTan erTad xeli moawera manifests «Пощёчина общественному вкусу». gamosca wignebi: `Полуживой~, `Помада~, `Взорваль~, `Старинная любовь~; futuristuli Teoriuli naSromebi «Чёрт и речетворцы», «Стихи Маяковского». 1912 wlidan TanamSromlobda velimir xlebnikovTan. 1912-1914 wlebSi masTan erTad gamosca wignebi `Игра в аду~, `Мирсконца~, `Бух лесинный~, `Те Ли Ле~. xlebnikovTan erTad Camoayaliba zaumuri enis Teoriuli principebi da Seqmna programuli manifesti `sityva, rogorc aseTi~_`Слово как таковое~. zaumis, zaumuri poeziis Seqmna kruCionixisTvis iyo literaturaSi radikalurad axali, metad gamomsaxveli enis Ziebis Sedegi. 1913 wels peterburgSi daidga misi opera Победа над Солнцем (musika matiuSinis, prologi v. xlebnikovis, dekoracia k. maleviCis). I msoflio omis dros samxedro samsaxuridan Tavis daRwevis mizniT TbilisSi gaemgzavra. muSaobda xatvis maswavleblad gimnaziaSi. 1916 wlis martidan samxedro samsaxurSi gaiwvies sarakamiSSi, sadac erzrumis rkinigzis xazis mSeneblobaze mxazvelad muSaobda. 1917-1919 wlebSi TbilisSi cxovrobda da `tfilisuri avangardis~ erT-erTi aqtiuri wevri iyo. SeuerTda poetTa da mxatvarTa jguf `futuristebis sindikats~. i. zdaneviCsa da i. terentievTan erTad monawileobda Tbilisis futuristuli dajgufeba_`41°~-is CamoyalibebaSi. TbilisSi gamovida kruCionixis 42 liTografiuli wigni, romelTa mxatvruli gaformeba Sesrulebuli iyo Tavad a. kruCionixis, k. zdaneviCis, a. kamenskis, i. terentievis mier. 1919 wels i. terentievTan erTad baqoSi gadavida sacxovreblad. TanamSromlobda ruseTis telegrafis saagentos_РОСТА-Росииская телеграфная агентство baqos ganyofilebasTan. gamosca poeturi krebulebi da Teoriuli naSromebi. 1921 wels moskovSi dabrunda. maiakovskis daxmarebiT isev CaerTo moskovel poetTa wreSi. 1923 wels igi v. maiakovskisTan, l. brikTan, s. tretiakovTan, v. SklovskisTan erTad futuristuli sazogadoeba «ЛЕФ (Левый фронт»)-is erT-erTi wevri gaxda. TanamSromlobda gamomcemloba «МАФ (Московская ассоциация футуристов»)-Tan. «ЛЕФ» -is daSlasTan erTad kruCionixi da misi poezia CrdilSi moeqca. futurizmi, iseve rogorc sxva avangarduli mimdinareobebi, sabWoTa wyobisTvis usargeblo, ideologiurad miuRebeli iyo. 1928 wels gamovida kruCionixis ori wigni «Приёмы Ленинской речи» da «15 лет русского футуризма. 1912-1927». II msoflio omis dros TanamSromlobda sabWoTa kavSiris satelegrafo saagentosTan_ ТАСС-Телеграфная агентство Советского Союза. a. kruCionixi martoobasa da ukidures siRaribeSi gardaicvala. Aleksey Kruchyonyh. 1886. Village Olievka, Ukraine – 1968. Moscow, Russia Poet, writer, artist, one of the founders of Russian futurism, author of the concept of abstruse language After three-year study at Kherson city school, in 1902-1906, Aleksey Kruchyonyh studied in the Odessa art school. After he finished school, some time he worked in Kherson gymnasium as the teacher of drawing, but very soon moved to live to Moscow. He co-operated with different publishing houses. At the same time, with the assistance of D.Burljuk, he made friends with the representatives of

Moscow art and literary avant-garde, with the future adherents: V.Kamensky, V.Khlebnikov, E.Guro and M.Matyushin. He participated in art exhibitions. In 1909, he for a while went to Kherson. There the literary debut of Kruchyonyh took place. The same year he joined to the founded by D.Burljuk literary society of Russian futurists”Gilea” (“Гилея”). Kruchyonyh actively participated in Petersburg literary-futuristic actions. In 1912 he founded his own publishing house “ЕУЫ” where there were printed his first books and articles. Kruchyonyh was the initiator of the edition of the Russian futuristic lithographic books. In 1913, together with V.Majakovsky, D.Burljuk and V.Hlebnikov signed the manifesto «Пощёчина общественному вкусу». He published books: «Полуживой», «Помада», «Взорваль», «Старинная любовь»; futuristic theoretical works: «Чёрт и речетворцы», «Стихи Маяковского». From 1912 he co-operated with Vladimir Hlebnikov. In 1912-1914 together with him he published books: «Игра в Аду», «Мирсконца», «Бух лесинный», «Те Ли Ле». Together with Khlebnikov he created theoretical principles of abstruse language and programmatic manifesto « Слово как таковое». Creation of abstruse poetry for Kruchyonyh was considerably new in the literature, the result of search of more expressive language. In 1913 in Petersburg his opera «Победа над солнцем» (“The Victory over the sun”) (music by Matyushin, prologue - by Khlebnikov, scenery – by Malevich) was staged. During the First World War in order to avoid an appeal on war, he left for Tbilisi, where he worked as a teacher of drawing in a gymnasium. Since March 1916 he was summoned on military service in Sarakamish where he worked as the draftsman on building of the Erzurum railway. In 1917-1919 Kruchyonih lived in Tbilisi and was one of the active members of “The Tbilisi avant-garde”. Then he joined the group of poets and artists “Futuristic syndicate”. Together with I.Zdanevich and I.Terentev he participated in creation of the Tbilisi futuristic group – “410”. In Tbilisi 42 lithographic books by Kruchyonyh were published, the decorating of which was executed by A.Kruchyonyh himself, K.Zdanevich, A.Kamensky and I.Terentev. In 1919 he, together with I.Terentev, moved to live in Baku. He worked in Baku department of Russian Cable Agency – “РОСТА.”. He published poetic collections and theoretical works. In 1921 he returned to Moscow. By Mayakovski’s help he again joined the circle of Moscow poets. In 1923 he, together with V.Majakovsky, L.Brik, S.Tretjakov, and V.Shklovsky became one of the members of the futuristic society “ЛЕФ” (the Left Front). He co-operated with publishing house “МАФ” (“The Moscow Association of Futurists”). After disintegration of “ЛЕФ” Kruchyonih and his poetry became forgotten. Futurism, as well as other avant-garde trends, was useless, ideologically unacceptable for the Soviet system. .In 1928 two books by Kruchyonyh were published: “Приёмы Ленинской речи” and “15 лет русского футуризма”. During the Second World War he co-operated with Cable Аagency of the Soviet Union - TASS. A.Kruchyonyh died in loneliness and extreme poverty.

mixeil larionovi. 1881. tiraspoli, moldova _ 1964. fontene o-roz, safrangeTi fermweri, grafikosi, ilustratori, Teatris mxatvari, Teoretikosi, pedagogi, luCizmis fuZemdebeli m. larionovi daibada samxedro eqimis ojaxSi. swavlobda moskovSi voskresenskis realur saswavlebelSi. 1898 wels Caabara moskovis ferweris, qandakebisa da xuroTmoZRvrebis saswavlebelSi, v. serovisa da k. Kkorovinis

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klasSi. swavlis periodSi iyo axalgazrdobis lideri da saswavleblis `simSvidis damrRvevi~. zafxulobiT bevr dros atarebda babuis saxlSi, tiraspolSi. adreul wlebSi larionovi gatacebuli iyo franguli xelovnebiT, romelsac s. SCukinis koleqciaSi gaecno. impresionistuli da puantilisturi stilebiT Sesrulebuli misi namuSevrebi ferweruli zedapiris faqturulobiTa da dekoratiulobiT gamoirCeva. rusuli xelovnebidan larionovi yvelaze metad v. borisov-musatovisa da p. kuznecovis SemoqmedebiT iyo gatacebuli. 1900 wels gaicno n. gonCarova, xelovnebaSi Tavisi Tanamoazre da momavali meuRle. 1902 wels larionovi saswavleblidan garicxes `umsgavso Sinaarsis~ namuSevrebis gamofenis gamo, Tumca, mogvianebiT aRadgines. Llarionovi bevrs muSaobda, monawileobda «Мир искусства»-s, «Союз русских художников»-is gamofenebSi. mis namuSevrebs yidulobdnen koleqcionerebi, maT Soris, s. riabuSinski, s. Mmorozovi, p. tretiakovi. saswavlebelSi ukve saxelganTqmuli mxatvari dabrunda. 1906 wels larionovi diagilevis miwveviT sxva mxatvrebTan erTad parizSi gaemgzavra da saSemodgomo salonis rusul eqspoziciaSi miiRo monawileoba. parizSi yofnisas didi yuradRebiT Seiswavla postimpresionizmi, axalCasaxuli fovizmis mxatvruli sistema, romelSic mniSvnelovan rols asrulebda egzotikuri qveynebis – afrikis, okeaneTis xalxTa xelovneba. moskovSi dabrunebis Semdeg m. larionovis SemoqmedebaSi gardatexis xana dadga. Tavis namuSevrebSi man ganazogada da erTmaneTs daukavSira safrangeTis STabeWdilebebi da tiraspolisa da odesis kolorituli landSaftis Taviseburebebi. man yuradReba miapyro quCis kulturas, xalxur xelovnebas. provinciuli Tematikis namuSevrebSi larionovi iyenebda abris warwerebs, lubokis fragmentebs, naxatebs provinciuli qalaqebis Robeebze, infantilur naxats, arqaul simbolikas. Mmisi stili metad uaxlovdeba lubokis, xalxuri xelovnebis tradicias. misi ferweruli ena rTuli, mravalSriani, gaazrebulad epataJuria. primitivistuli periodi larionovis SemoqmedebaSi, rogorc i. zdaneviCi aRniSnavda, 1907-1912 wlebs Soris viTardeba. 1907 wels larionovma d. burliukTan erTad moawyo gamofena «Стефанос» («Венок»). momdevno wlebSi TanamSromlobda Jurnal «Золотое руно»-Tan da monawileobda mis samive gamofenaSi. 1910 wels, saswavleblis damTavrebis Semdeg, larionovma savaldebulo samxedro samsaxuri daiwyo. samxedro banakSi miRebuli STabeWdilebiTaa Seqmnili misi namuSevrebis e.w. samxedro seria. 1910-iani wlebis dasawyisSi moskovSi larionovis garSemo Seikriba axalgazrda Tanamoazre mxatvarTa jgufi. larionovi iyo iniciatori da p. konCalovskisTan, a. lentulovsa da i. maSkovTan erTad axali xelovnebis gamofena «Бубновый валет»-is organizatori. ukve 1911 wels konCalovskisa da sxva mxatvrebTan uTanxmoebis gamo larionovma datova gaerTianeba da 1912 wels moawyo gamofena «Ослиный хвост». gamofenaSi m. larionovsa da n. gonCarovasTan erTad monawileobdnen m. Lle-dantiu, a. SevCenko, k. maleviCi, v. tatlini da sxva mxatvrebi. 1913 wlis gazafxulze gaixsna larionovis mier organizebuli mesame gamofena «Мишень», sadac gamoifina mxatvris ferweruli seriebi `weliwadis droni~ da `venera~, agreTve luCisturi kompoziciebi. am periodidan iwyeba larionovis `gadasvla~ primitivizmidan luCizmis – mis mier Seqmnili usagno xelovnebis sistemisken. 1913 wels larionovma gamosca broSura

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«Лучизм» da manifesti «Лучисты и будущники» . 1912-dan 1914 wlamde larionovis luCizmi Tanmimdevrulad gadadis sagnobrivi samyaros vizualuri xatebis miniSnebidan niSnur xatebSi. 1912-1913 wlebSi Tavisi saxviTi enis eqsperimentul sistemas larionovi iyenebs futuristul wignebis (a. kruCionixis «Старинная любовь», «Полуживой», «Помада, a. kruCionoxisa da v. xlebnikovis Мирсконца, andrei lotovis (k. bolSakovi) «Le Futur») grafikuli gaformebisas. larionovi TanamoazreebTan erTad cdilobda daengria stereotipebi da mourideblad upirispirdeboda sazogadoebas. misi epataJuri aqciebi, saxis moxatva da a. S. saukuneebis ganmavlobaSi Camoyalibebuli qcevis normebis aSkara gamowveva iyo. 1913 wels i. zdaneviCTan erTad larionovma gamoaqveyna manifesti «Почему мы раскрашываемся». 1914 wels gonCarovasa da kinooperator v. kasianovTan erTad gadaiRo filmi `drama futuristul kabare #15-Si~. imave wels larionovma moawyo gamofena №4. Футуристы, лучисты, примитив». maisSi gonCarovasTan erTad gaemgzavra parizSi balet `oqros mamlis~ premieraze, romlis dekoraciebisa da kustiumebis mxatvari n. gonCarova iyo. ivnisSi parizSi pol giiomis galereaSi moewyo m. larionovisa da n. gonCarovas primitivistuli da luCisturi namuSevrebis gamofena. katalogis teqstis avtori iyo poeti da samxatvro kritikosi giiom apolineri, romelmac maRali Sefaseba misca mxatvrebis Semoqmedebas. I msoflio omis dawyebis Semdeg larionovi moskovSi dabrunda. igi gawveuli iyo moqmed jarSi da monawileobda saomar moqmedebebSi aRmosavleT prusiaSi. kontuziis Semdeg demobilizda moskovSi. M1915 wels larionovma da gonCarovam miiRes diagilevis winadadeba, mudmivad eTanamSromlaT `rusuli baletis~ evropul dadgmebSi da Sveicariis gavliT parizSi gaemgzavrnen. 1917 wlidan larionovi parizSi cxovrobda. monawileobda mxatvarTa yovelwliuri tradiciuli mejlisebis organizebaSi. igi iyo safrangeTSi rus mxatvarTa kavSiris vice-prezidenti. larionovi, ZiriTadad, scenografiasa da wignis grafikaSi muSaobda. 1948 wels parizSi moewyo m. larionovisa da n. gonCarovas luCisturi namuSevrebis gamofena, ramac maTi Semoqmedebis mimarT metad gaaRviva evropuli sazogadoebis interesi. larionovis gardacvalebis Semdeg misi namuSevrebis didi nawili ruseTs gadaeca. Michael Larionov. 1881. Tiraspol, Moldova – 1964. Fontene o-Ros, France Painter, graphic-artist, illustrator, artist of theatre, theorist, teacher, founder of luchizm M.Larionov was born in the family of a military doctor. He studied in Moscow, in real school of Voskresensk. In 1898 he entered the Moscow school of painting, sculpture and architecture, in V.Serov’s and K.Korovin’s class. During the studies he was the leader of youth and “troublemaker” at school. In summer he spent much time in the house of his grandfather in Tiraspol. In his youth, Larionov was fascinated with French art, with which he familiarized in S.Shchukin’s collection. His works executed by impressionistic and pointillistic style are distinguished with decorative effect of the surface. In Russian art Larionov most of all was keen on creativity of V.Borisov-Musatov and P.Kuznetsov. In 1900 he got acquainted with N.Goncharova, his adherent in art and future wife. In 1902 Larionovs was excluded from school because of the exhibition of works of “the indecent context”, but was restored a little bit later. Larionov worked much,

took part in the exhibitions of “Мир искусства”, “Союз Русских художников”. His works were bought by collectors; among them were S.Rjabushinsky, S.Morozov, and P.Tretjakov. Larionov returned to school as already known artist. In 1906 he, under Diaghilev’s invitation, together with other artists went to Paris to take part in Russian exhibition of autumn salon. Living in Paris, Larionov with great attention studied postimpressionism, art system of just appeared fauvism, where the important role was played by art of the people of such exotic countries, as Africa and Oceania. After returning to Moscow Larionov had a period of great changes in his creativity. In his works he generalized and connected the memoirs of France and features of landscape of Odessa and Tiraspol. He paid attention to culture of streets, folk art. In his works of provincial subjects Larionov applied inscriptions of signboards, fragments of lubok and traditions of folk art, pictures on fences of country towns, infantile drawings, archaic symbolic. His art language is complicated, multilayered and reasonably scandalous. The primitivism period in Larionov’s crevativity, as I.Zdanevich marked, develops in 1907-1912th. In 1907 Larionov together with D.Burljuk arranged the exhibition “Стефанос” (“Wreath”). Next years he co-operated with magazine «Gold fleece» and participated in its three exhibitions. In 1910, after finishing school, Larionov begins to serve in the army. The impressions, received in the military camp, created his so-called military series of works. In the beginning of 1910th in Moscow, a group of young artists-adherents gathered at Larionov’s who the initiator and together with P.Konchalovsky, A.Lentulov and I.Mashkov he was the organizer of a new exhibition of art “Бубновый валет”. Already in 1911, because of the disagreement with Konchalovsky and other artists, Larionov left the community and in 1912 organized the exhibition “Ослиный хвост “. In the exhibition, together with M.Larionov and N.Goncharova, M.Le-Dantju, A. Shevchenko, K.Malevich, V.Tatlin and other artists took part.. In spring of 1913 Larionov organized the third exhibition “Target”-(“Мишень”) where painted series of the artist – “Seasons” and “Venus” were exposed, and also “luchist” compositions. Larionov’s “transition” begins with this period from primitiveness to “luchism” – the system of pointless art, created by him. In 1913 Larionov published the brochure “Лучизм” and the manifesto “Лучисты и будущники “. In 1012-1013 the experimental system of the graphic language Larionov applies to graphic design of futuristic books (A.Kruchyonyh” Ancient love” (Старинная любовь), “Half-dead” (Полуживой), “Lipstick” (Помада), Kruchyonyh and Khlebnikov “Мир с конца”, Andrey Lotov (K.Bolshakov) “Le Futur”). Larionov, together with adherents, tried to destroy stereotypes and roughly resisted to the society. His scandalous actions, painting of face, etc., were an obvious challenge to the norms of behavior, generated in a current of centuries. In 1913 Larionov, together with I.Zdanevich, published the manifesto “Why we are painted” (Почему мы раскрашиваемся). In 1914, Larionov, together with Goncharova and the cameraman V.Kasyanov shot a film “Drama in the futuristic cabaret №15” (Драма в футуристическом кабаре №15). The same year Larionov organized exhibition №4 “Футуристы, лучисты, примитив “. In May Larionov together with Goncharova left for Paris on the ballet premiere “Gold cockerel”, N.Goncharova was the artist of the scenery and suits. In June, in Paris, in gallery of Pol Gijyom the exhibition of primitive and luchist works by M.Larionov and N.Goncharova was organized. The poet and art critic Gijyom Apoliner, who was the author of the text of the catalogue, gave high appreciation to creativity of the artists. After the beginning of the First World War Larionov returned to Moscow. It was called in the field army and participated in military actions in East Prussia. After contusion he was demobilized to Moscow. In 1915 Larionov and Goncharova accepted Diaghilev’s offer to co-operate constantly in the European staging of “Russian ballet» and through Switzerland they left for Paris. From 1917 Larionov lived in Paris. He took part in the organization of annual traditional balls of artists. He was the vice-president

of the union of Russian artists in France. Larionov, basically, worked in scenography and as a book graphic-artist. In 1948 in Paris the exhibition of “Luchist” works of M.Larionov and N.Goncharova’s was organized that caused huge interest of the European society to their creativity. After Larionov’s death the most part of his works was passed to Russia.

osvaldo liCini. 1894. monte vidoni korado, italia _ 1958. monte vidoni korado, italia fermweri, grafikosi, mwerali liCinis mama-dizaineri, deda ki modebis saxlis direqtori iyo. 1902 wels mSoblebi sacxovreblad parizSi gadavidnen. osvaldo liCini babua filipem gazarda. 1908-1914 wlebSi is boloniis natifi xelovnebis akademiaSi swavlobda. masTan erTad swavlobdnen jorjo morandi, mario baCeli, severus pozati da jeims vespiniani. 1912-1914 wlebSi gatacebuli iyo futurizmiT. 1913 wels dawera `brutusis zRaprebi~. 1914 wels daamTavra akademiis ferweris kursi. imave wels boloniaSi sastumro “Baglioni”-Si, mowyobil damoukidebelTa gamofenaSi miiRo monawileoba. gaxsnas eswreboda marinetic. qandakebis Sesaswavlad florenciis natifi xelovnebis akademiaSi Caabara. ibrZoda I msoflio omSi. 1915 wels fexSi mZimed daiWra. demobilizaciis Semdeg, 1917 wels, parizSi gaemgzavra. gatacebuli iyo postimpresionizmiTa da fovizmiT. megobrobda modilianisa da pikasosTan. monawileobda gamofenebSi. igi erT-erTi pirveli italieli abstraqcionisti mxatvaria. l. fontanas, f. melotisa da milanis abstraqcionist mxatvarTa wresTan erTad upirispirdeboda orTodoqsul xelovnebas. 1920-ian wlebSi Seqmna pirveli abstraqtuli kompoziciebi. liCinis abstraqciebi Zlier gansxvavdeba sxva italieli abstraqcionistebis namuSevrebisgan da msgavsebas amJRavnebs pol klees kompoziciebTan. xasiaTdeba formaTa geometrizmiTa da feris intensiurobiT. 1935 wels parizSi swavlobda kandinskisa da man reis xelovnebas. 1938 wlidan daiwyo liCinis gataceba poeturi simbolizmiT. leopardisa da novalisTan erTad misi sayvareli poetebi iyvnen apolineri, malarme, rembo, valeri. simbolisturma xelovnebam didi gavlena moaxdina liCinis gviani Semoqmedebis ganviTarebaze. 1940 wlebidan liCini fantastikurma siurrealizmma gaitaca.

Oswaldo Lichini. 1894. Мonte Vidon Corrado, Italy – 1958. Monte Vidon Corrado, Italy Painter, graphic-artist, writer. Lichini’s father was a designer, and mother – the director of a fashion house. In 1902 the parents moved to live to Paris. Grandfather Philip brought up Oswaldo Lichini. In 1908-1914 he studied in the Academy of Fine arts of Bologna. Giorgio Morandi, Mario Bachelli, Severus Pozatti and James Vespiniani studied together

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with him. In 1912-1914 he was keen on futurism. In 1913 he wrote “Fairy tales of Brutus”. In 1914 he finished courses of painting in the Academy. The same year he took part in the exhibition of independents, arranged in Bologna hotel “Baglioni”. At the exhibition Marinetti was presented also. For studying of sculpture he began to study in the Academy of Fine Arts in Florence. He was at war in the First World War. In 1015 he was wounded badly in a foot. After demobilization, in 1917 left for Paris. He was carried away with post-impressionism and fauvism. He was on friendly terms with Modigliani and Picasso. He took part in exhibitions. He was the first Italian abstract artist. Together with L.Fontana, F.Melotisa and together with Milan circle of abstract artists was against orthodox art. In 1920 he created the first abstract compositions. Lichini’s abstractions absolutely differ from the works of other Italian abstract artists and have similarity to compositions of Poll Klee. They are characterized by geometrical forms and intensity of color. In 1935 he studied the art of Kandinsky and Мan Ray. From 1938 he was keen on with poetic symbolism. Together with Leopard and Novalis his favorite poets were Apolinery, Mallarme, Rambo and Valery. Art of symbolists had great influence on the development of Lichini’s tardy creativity. From1940 Lichini took great interest in fantastic surrealism.

kazimir maleviCi. 1879. kievi, ukraina _ 1933. leningradi, ruseTi fermweri, grafikosi, wignis ilustratori, dizaineri, xelovnebis Teoretikosi, suprematizmis avtori kazimir maleviCis mama Zveli polonuri didgvarovani SliaxtiCebis gvaris STamomavali iyo, deda liudviga galinovskaiac poloneli iyo. ojaxSi polonurad saubrobdnen. mama Saqris sxvadasxva fabrikaSi muSaobda mmarTvelad da ojaxs xSirad uwevda sacxovrebeli adgilis Secvla. 1890-1891 wlebSi swavlobda parxomovkis (xarkovis gubernia) sasoflo-sameurneo saswavlebelSi, 1895 wels ki_ kievis samxatvro saswavlebelSi i. muraSkosTan. 1896 wels kurskSi dasaxlda da rkinigzis sammarTveloSi mxazvelad daiwyo muSaoba. paralelurad mecadineobda ferweraSi. mis irgvliv xelovnebis moyvarulTa mcire wre Seikra. SemoqmedebiTi cxovrebis dasawyisad TviTon 1898 weli miaCnda. Tavdapirvelad, peredviJnikuli stiliT xatavda, magram male impresionistebisa da postimpresionistebis xelovnebam gaitaca. 1904 wels moskovSi gaemgzavra da ganacxadi Seitana moskovis ferweris, qandakebisa da xuroTmoZRvrebis saswavlebelSi Sesasvlelad, magram ar miiRes. sami weli cdilobda am saswavlebelSi Cabarebas, Tumca, uSedegod. moskovSi, lefortovis mxatvarTa komunaSi, dasaxlda. 1905-1910 wlebSi swavlobda f. rerbergis skolaSi. 1907 wels gaicno m. larionovi. monawileobda gamofenebSi: «Бубновый валет» (1910), «Союз молодёжи» (1911), «Ослиный хвост» (1912), «Мишень» (1912). 1912 wels m. matiuSinis gacnobam didad gansazRvra maleviCis daintereseba xelovnebis axali filosofiiT. 1913 wels maleviCma Seqmna naxatebi «Самопись»-is principiT futuristuli wignebisTvis. imave

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wlis 3 da 5 dekembers peterburgis lunaparkSi gaimarTa opera «Победа над солнцем» premiera (teqti a. kruCionoxis, musika m. matiuSinis, prologi v. xlebnikovis, dekoraciebisa da kostiumebis mxatvroba k. maleviCis). 1913 wels «Союз молодёжи»-is gamofenaze warmoadgina `alogikuri namuSevrebi~ - `zaumuri realizmi~ da kubofuturistuli kompoziciebi. 1914 wels konfliqti mouvida larionovTan, romelic mouwodebda, boikoti gamoecxadebinaT ruseTSi Camosuli marinetisTvis. 1914 wlis 8 Tebervals maleviCma mxatvar a. margunovTan erTad kuzneckis xidze paltos saRileSi garWobili kovziT gaseirnebiT alogizmis erT-erTi pirveli aqcia moawyo. I msoflio omis dros gamomcemloba «Сегоднящный лубок»-isTvis Seqmna lubokebis seria (gamomcemlobam Ria baraTebic gamouSva). maleviCis suprematistuli manifesti, 1915 wels Sesrulebuli `Savi kvadrati~, 1916 wels gamoifina petrogradSi, gamofenaze `0.10~. amave wels monawileoba miiRo `suprematistebis saxalxo saganmanaTleblo popularul leqciebSi~ moxsenebiT «Кубизм, Футуризм, Супрематизм». 1917 wels airCies moskovis mxatvar-fermwerTa profesiuli kavSirebis axalgazrduli memarcxene frTis Tavmjdomared. samxedro-revoluciuri komitetis mier dainiSna siZveleTa dacvis komisrad da kremlis mxatvrul faseulobaTa dacvis komisiis wevrad. 1918 wels airCies saxalxo ganaTlebis komisariatis saxviTi xelovnebis ganyofilebis samxatvro kolegiis wevrad. amave wels moxsenebiT gamovida disputze «Живопись заборов и литература». 1919 wels vitebskSi m. Sagalis mier daarsebuli saxalxo samxatvro skolis xelmZRvanelia. gamosca wigni «О новых системах в искусстве». 1920 wels Camoayaliba jgufi «УНОВИС-Утвердители Нового Искусства». 1922 wels daasrula Teoriul-filosofiuri naSromi «Мир как беспредметность, или Вечный покой». n. puninis winadadebiT faifuris saxelmwifo qarxnisTvis Seasrula eskizebi suprematistuli formebis gamoyenebiT. 1924-1926 wlebSi leningradis samxatvro kulturis saxelmwifo institutis_ГИНХУК direqtori iyo, xelmZRvanelobda formalur-Teoriul saxelosnos. 1926 wels varSavaSi axali arqiteqturis saerTaSoriso gamofenaze eqsponirebuli iyo maleviCis arqiteqtonebi. 10 ivliss gazeT `Ленинградская правда~-Si daibeWda g. serovis werili «Монастырь на попечение государства», ris safuZvelzec maleviCi direqtoris Tanamdebobidan gaaTavisufles, xolo mogvianebiT `ginxuki~ daxures. 1927 wels maleviCi varSavaSi gaemgzavra. gamofena moawyo varSavasa da berlinSi. Sexvda desauSi bauhauzis warmomadgenlebs: valter gropiuss, laslo moholi-nads, liudvig mis van der roes, v. kandinskis. maTTan erTad ganixilavda scenars filmisTvis suprematizmis Sesaxeb. sabWoTa xelisuflebis moTxovniT saswrafod dabrunda ruseTSi. namuSevrebis nawili datova berlinSi, romelTagan umetesi axla amsterdamis muzeumSia daculi. 1928 wels maleviCi saTaveSi Caudga eqsperimentul laboratorias. Seasrula Tavisi adrindeli kompoziciebis gameoreba Zveli TariRebiT. axali suraTebi Zveli TariRebiT mxatvris Semoqmedebis axal qronologias qmnis. 1930 wels, grZnobda ra gamouval situacias, moiTxova sazRvargareT mivlineba, romelic kategoriulad iqna uaryofili. imave wels daapatimres rogorc `germaniis Spioni~, Tumca, male gamouSves. 1933 wels maleviCis xelovneba formalisturad Seracxes. 1934 wels Seasrula realisturi portretebi.

Kazimir Malevich 1879. Kiev, Ukraine-1933. Leningrad, Russia Painter, graphic- artist, illustrator of the book, designer, theorist of arts, author of suprematism Kazimir Malevich’s father was the offspring of Polish nobles, mother – Lydviga Galinovskaja was a Pole too. In the family they spoke in the Polish language. The father worked at different sugar factories as the managing director and the family had to change the residence. In 1890-1891 he studied in agricultural school in Parhomovka (the Kharkov province), in 1895 – in the Kiev art school at I.Murashkov. In 1896 he settled in Kursk and started to work as a draftsman in the Railway Administration. In parallel he studied painting. Round him a small circle of fans of art was formed. He considered 1898 as the beginning of his creative life. At first he drew by style of peredvizhniki, but then he took a great interest in the impressionist art and postimpressionists In 1904 he left for Moscow and took the exams in the Moscow school of painting, a sculpture and architecture, but failed. Three years he tried to pass examinations in this school, but in vain. He settled down in art commune of Lefortov, in Moscow. In 19051910 he studied at F.Rerberg school. In 1907 he got acquainted with M.Larionov. He participated in exhibitions: “Бубновый валет” (1910), “Союз молодёжи” (1911), “Ослиный хвост” (1912), “Мишень” (1912). In 1912 his acquaintance with M.Matyushin defined Malevich’s interest to new philosophy of art. In 1913 Malevich created drawings by principle «Самопись» for futuristic books. The same year, on December, 3rd and 5 in Luna park of Petersburg the premiere of opera “Victory over the sun” (text by A.Kruchyonyh, music- M.Matyushin, the prologue- V.Hlebnikov, scenery and suits –by K.Malevich) took place. In 1913 at the exhibition of “Союз молодёжи” he presented “Illogical works” – “Abstruse realism” and cubo-futuristic compositions. In 1914 he had a conflict with Larionov who urged to declare boycott to just arrived to Russia Marinetti. On February, 8th 1914 Malevich, together with artist A.Morgunov, walked on the Kuznets bridge with a spoon in a coat buttonhole; he expressed by this one of the first actions of an alogism. During the First World War for publishing house “Today’s popular print” (“Сегодняшний лубок”) he created a series of popular prints (the publishing house published also postcards). Malevich’s suprematic manifesto, executed in 1915, “The Black square” was exhibited in Petrograd at the exhibition “0.10”. The same year he took part in the “national-educational popular lectures of supremacists” with the report “Кубизм, Футуризм, Супрематизм”. In 1917 he was elected in the Moscow trade union of artists-painters as the chairman of the left youth wing. The Revolutionary-military committee appointed him as a commissioner of protection of antiquity and a member of the commission of protection of the Kremlin art values. In 1918 he was elected as a member of art board of department of fine arts of the commissariat of national education. The same year he spoke on debate:”Живопись заборов и литература”. In 1919 he became the head of the national art school, founded by M.Shagal. He published the book “О новых системах в искусстве”. In 1920 he formed the group “УНОВИС –Утвердители Нового Искусства”. In 1922 he finished teoretikal-philosophical work “Мир как беспредметность, или Вечный покой”. Under N.Punin’s offer he created sketches with the use of suprematist forms for the State porcelain factory. В1924-1926 he was the director of the Leningrad State institute of art culture – ГИНХУК, supervised over the formal-theoretical workshop. Malevich’s architectonics was exhibited at the International exhibition of new architecture in 1926 in Warsaw. On July, 10th the article by G.Serov “The Monastery on state care” (”Монастырь на попечении государства”) was published in the newspaper “Leningrad Truth” (“Ленинградская правда”). Therefore

Malevich was dismissed and later ГИНХУК was abolished. In 1927 he left for Warsaw and arranged exhibitions in Warsaw and Berlin. In Dessau he met representatives of Bauhaus: Walter Gropius, Lazlo Mohole- NAD, Ludwig mis van der Roe and V.Kandinsky. He discussed together with them the scenario for a film about suprematism. On request of the Soviet government he immediately returned to Russia. He left a part of his works in Berlin; the majority of them now are stored in Amsterdam museum. In 1928 Malevich headed experimental laboratory. He executed repetition of his previous compositions by former dating. New pictures with former dating created new chronology. In 1930 he felt hopelessness of the situation and asked a business trip abroad in which he was categorically refused. The same year he was arrested as a “German spy” though was soon released. In 1933 Malevich’s art was declared formalistic. In 1934 he created realistic portraits.

adolf milmani. 1886/88. kiSiniovi, moldaveTi _ 1930. parizi, safrangeTi fermweri, pedagogi ad. milmani daibada mravalSvilian ebraul ojaxSi. swavlobda komerciul saswavlebelSi. 1900-iani wlebis dasawyisSi ojaxi sacxovreblad moskovSi gadavida. 1904-1910 wlebSi milmani swavlobda moskovis ferweris, qandakebisa da xuroTmoZRvrebis saswavlebelSi, i. maSkovis klasSi, romelsac male daumegobrda. AstudiaSive dauaxlovda 10-iani wlebis erT-erTi skandaluri mxatvruli gaerTianeba «Бубновый валет»-is momaval wevrebs: m. larionovs, n. gonCarovas, a. kuprins, r. falks. «Бубновый валет»-is daarsebis dRidan milmani misi wevri, 1911 wlidan sarevizio komisiis wevri da 1917 wlamde gamarTuli gamofenebis monawilea. Aam periodSi yalibdeba milmanis Semoqmedebis stili _ «Бубновый валет»-is mxatvrebisTvis saerTo interesi franguli skolisa (sezanisa da fovizmis) da rusuli xalxuri xelovnebis_lubokis tradiciisadmi. mis namuSevrebs gamoarCevs eqspresiuli gamomsaxveloba da rTuli feradovani kompozicia. miuxedavad didi warmatebisa, 1916 wels adolf milmanma sxva mxatvrebTan erTad datova «Бубновый валет» da «Мир искусства»-s SeurTda. 1912-1917 wlebSi milmani aswavlida i. maSkovis ferwerisa da xatvis studiaSi. 1917-1918 wlebSi ki _ i. maSkovTan erTad a. miganajianis studiaSi. 1918 wels is da a. lentulovi «Мир искусства»-s gaerTianebis mdivnad airCies. Tebervlis revoluciis Semdeg milmani monawileobda saxalxo komisariatTan arsebuli saxviTi xelovnebis ganyofilebis organizebaSi, moskovel mxatvar-fermwerTa profesiuli kavSirebis SeqmnaSi. 1918 wels sacxovreblad kievSi gadavida da kerZo studia daaarsa. masTan swavlobdnen p. CeliSCevi da s. iutkeviCi. 1914 wlidan tuberkuloziT daavadebuli milmani garkveul dros yirimSi atarebda. 1920 wels ki yirimSi, qalaq sudakSi, sacxovreblad gadavida. ukve mZime avadmyofi mainc aqtiurad muSaobda da feodosiaSi personaluri gamofenac moawyo. amave wels vrangelis armiasTan erTad konstantinopolis gavliT meuRlesTan erTad

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parizSi gaemgzavra. Mmonawileobda rusi mxatvrebis ramdenime gamofenaSi, Tumca, adre gadatanili encefalitis Sedegad sawols mijaWvuli mxatvari 1922 wlidan, faqtobrivad, veRar muSaobda. Adolf Milman. 1886/88 Kishinev, Moldova – 1930. Paris, France Painter, teacher Adolf Milman was born in a large Jewish family. He studied in a commercial school. In the beginning of 1900 the family moved to live to Moscow. In 19041910 Milman studied in the Moscow school of painting, a sculpture and architecture, at I.Mashkov’s class, with whom he soon made friends. In the studio he made friends with the future members of one of scandalous art society of the 10s “Бубновый валет”: M.Larionov, N.Goncharova, A.Kuprin, and R.Falk. From the date of the foundation of “Бубновый валет” Milman was its member, from 1911 - a member of the revision committee and till 1917 – the participant of the exhibitions arranged by them. During this period Milman forms his own style - the general interest of artists of “Бубновый валет” to the French school (Sezan, fauvism) and to Russian folk art – traditions of “лубок”. His works are notable for expressiveness and complicated color composition. Despite tremendous success, in 1916 Adolf Milman, together with other artists, left “Бубновый валет”and joined “Мир искусства “. In 1912-1917 Milman was a teacher in studio of painting and drawing in I.Mashkov’s studio, and in 1917-1918, together with Mashkov taught in A.Miganazhdjan’s studio. In 1918 he and A.Lentulov were elected the secretary of society “Мир искусства”. After February revolution Milman took part in organization of fine arts department at the national commissariat, in creation of trade unions of the Moscow artists-painters. In 1918 he moved to live to Kiev and founded his own studio. P.Chelishchev and S. Jutkevich studied at his studio. From 1914, Milman, sick of a tuberculosis, certain time spent in Crimea. In 1920 he moved to live in the city of Sudak, Crimea. Already heavy patient, he actively worked and organized a personal exhibition in Feodosija. The same year with the army of Vrangel, through Constantinople, he left for Paris together with his wife. He took part in several exhibitions of Russian artists, though, bedridden because of encephalitis, from 1922, actually did not work any more.

kliment redko. 1897. sof. Rakalupi, poloneTi – 1956. moskovi, ruseTi fermweri, grafikosi, mxatvar-monumentalisti k. redko daibada glexis ojaxSi. 1910-1914 wlebSi swavlobda kievo-peCoris lavris xatweris skolaSi. misi Semoqmedebis ganviTarebisTvis mniSvnelovani impulsi iyo v. Cekriginis gacnoba. 1914 wels moskovSi gaemgzavra. mecadineobebs eswreboda f. rerbergis kerZo samxatvro skolaSi. misi mcdeloba, Caebarebina moskovis ferweris, qandakebisa da xuroTmoZRvrebis skolaSi, warumateblad dasrulda. 1914 wels, l. aqsionovis rCeviT, redko peterburgSi gaemgzavra da mxatvarTa wamaxalisebeli sazogadoebis xatvis klasSi daiwyo swavla. misi

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maswavleblebi iyvnen n. rerixi da p. naumovi. swavla daamTavra a. rilovisa da a. vaxrameevis klasSi. 1916-1917 wlebSi msaxurobda rusuli armiis saaviacio nawilSi. revoluciis Semdeg kievSi dabrunda da swavla ganagrZo samxatvro akademiaSi, n. buraCekis saxelosnoSi. 1919-1920 wlebSi s. nikritinTan erTad a. eqsteris saxelosnoSi muSaobda. kievSi polonelebis Sesvlis Semdeg redko sxva mxatvrebTan erTad xarkovSi gamegzavra. a. lunaCarskis rekomendaciiT redkom Caabara umaRles samxatvro teqnikur institutSi (ВХУТЕМАС), v. kandinskis klasSi da moskovSi saxelosnoc miiRo. Zlier gatacebuli iyo maleviCis suprematizmiTa da konstruqtivizmiT. 1920-iani wlebis redkos Semoqmedeba naTeli magaliTia avangardis xelovnebaSi axali tendenciebis ganviTarebisa. man gaiara kubizmis, suprematizmis skola, zedmiwevniT Seiswavla klasikuri xelovnebis meTodebi, gamoimuSava ferweris originaluri koncefcia, romelic dafuZnebuli iyo garemos analitikur gaazrebaze. redko cdilobda sakuTari saxviTi enis SemuSavebas, romelic akademizmisa da ufrosi avangardistebis mxatvruli manerisgan gansxvavebuli iqneboda. igi gatacebuli iyo xelovnebisadmi analitikuri midgomiT. swavlobda zust mecnierebebs: fizikas, maTematikas, qimias, rac mis Semoqmedebaze aisaxa. 1921 wels s. nikritinTan, a. labassa da a. tiSlerTan erTad redkom Seqmna mxatvruli mimdinareoba «Электроорганизмы». 1922 wels dawera «Свеченизм»-is Teoria, romelic simbolurad gamoxatavda XX saukunis industriuli da samecniero miRwevebis mniSvnelovan gavlenas xelovnebaze. Seqmna suraTebis seria naxevradfantastikuri, meqanizmebisa da manqanebis msgavsi arsebebis gamosaxulebebiT. `musikosebSi~ fonisa da wina planis damuSavebisas «Свеченизм»-is es eqsperimentuli Ziebebi aSkarad iCens Tavs. saRebavi TiTqos TavisTavadaa eleqtronuli sinaTlis matarebeli. fersinaTlis am erTobiT mxatvari cdilobs axali epoqis dinamikisa da energetikis damkvidrebas xelovnebaSi. 1924 wels redkom Camoayaliba proeqcionistebis jgufi «Метод». bevrs mogzaurobda yirimSi, kavkasiaSi, polarul regionSi. 1927 wels lunaCarskis mier mivlinebul iqna parizSi, sadac rva weli cxovrobda. muSaobda mxatvrad ssrk savaWro warmomadgenlobaSi. xvdeboda pikasos, p. siniaks, v. baranov-rosines, m. larionovs, i. anenkovs, a. ozanfans. 1935 wels moskovSi dabrunda. redkos stili icvleba sabWoTa epoqisTvis savaldebulo realisturi maneriT, Tumca, misi namuSevrebi moklebulia socrealizmis paToss. 1940-ian wlebSi sabWoTa kavSiris satelegrafo saagentoSi_ТАСС muSaobda. 1948 wels garicxes mxatvarTa kavSiridan, rogorc `dasavluri kulturis gavlenis qveS myofi~. Clement Redko. 1897. Village Gakalupi, Poland – 1956. Moscow, Russia The painter, the graphic-artist, the muralist Clement Redko was born in the family of a peasant. In 1910-1914 he studied at Kiev-Pecherskaya Laura icon painting school. Acquaintance with V.Chekrygin was for him the important impulse for development of his creativity. In 1914 he left for Moscow and visited studies at F.Rerberg’s private art school. His attempts to enter the Moscow school of painting, sculpture and architecture failed. In 1914, according to the advice of L.Aksyonov, Redko left for Petersburg and start-

ed to study in the class of drawing of the society of encouragement of artists. His teachers were N.Rerih and P.Naumov. He finished the school at A.Rylov and A.Vahrameev’s class. In 1916-1917 he served in the aviation unit of Russian army. After the revolution he returned to Kiev and continued to study at the Academy of Art, in N.Burachek’s workshop. In 1919-1920 together with S.Nikritin he worked in A.Ekster’s workshop. After the entry of Poles to Kiev, Redko, together with other artists, left for Kharkov. Under A.Lunacharski’s recommendation, Redko entered the Higher Art Technical Institute (ВХУТЕМАС) in V.Kandinsky’s class and received a workshop in Moscow. He was carried away by Malevich’s suprematism and constructivism. His creativity of 1920s was a vivid example of development of new tendencies in avant-garde art. He studied school of cubism, suprematism, thoroughly studied classical art methods, developed the original concept of painting which had been based on analytical understanding of environment. Redko tried to develop his own language of expressiveness which would differ from academism and the art manner of the senior avant-gardists. He was keen on analytical methods in art. He learnt the exact sciences, such as physics, chemistry, mathematics, that was expressed further in his creativity. In 1921 he, together with S.Nikritin, A.Labass and A.Tyshler created the art group “Electroorganisms. “ In 1922 he wrote the theory «Свеченизм» which symbolically expressed a great influence on art. He created a series of pictures on which semi fantastic creatures, similar to mechanisms and cars are expressed. In 1924 he created a group of projectionists “Method”. He traveled much to Crimea, to Caucasus, in Polar Regions. In 1927 he was sent by Lunacharsky to a business trip to Paris, where he lived eight years. He worked as an artist in the trade mission of the USSR. He met with Picasso, P.Sinjak, V.Baranov-Rosine, M.Larionov, I.Anenkov, and A.Ozanfan. In 1935 he returned to Moscow. Style of Redko varies a realistic manner, obligatory for the Soviet epoch though, his works are lack of socialist realism pathos. In 1940 he worked in telegraph agency of TASS. In 1948 he was excluded from the union of artists because he was “under the influence of the western culture”.

wels mcire xniT swavlobda zvancevas samxatvro skolaSi, sadac misi pedagogebi iyvnen l. baksti, m. dobuJinski da k. petrov-vodkini. o. rozanovas Semoqmedebas axasiaTebs sxvadasxva mxatvruli mimdinareobisa da stilis cvla, gamudmebuli eqsperimentebi, riTac mxatvari individualuri mxatvruli saxisa da ferweruli sistemis miRwevas cdilobda. am miswrafebas ganaxlebisaken, mxatvruli formis mudmivi cvlisken rozanova Teoriuladac asabuTebda. 1912 wels o. rozanova `soiuz molodioJis~ delegaciis SemadgenlobaSi gaemgzavra moskovSi m. larionovTan Sesaxvedrad. Aam Sexvedris Sedegad 1913 wels gaimarTa «Союз молодёжи»-isa da «Ослиный хвост» erToblivi gamofena. 1913 wlis martSi gamosul gaerTianebis JurnalSi daibeWda rozanovas liTografiebi da statia «Основы нового Творчества и причины его непонимания». 1913 wlidan iwyeba o. rozanovas SemoqmedebiTi kavSiri a. kruCionixTan. rozanovam gansakuTrebuli wvlili Seitana rusuli futuristuli wignis ganviTarebaSi. olga rozanovam Tavisi Semoqmedeba tradiciuli realisturi ferweriT daiwyo da impresionizmis, sezanis, fovistebisa da kubizmis gavliT mivida futurizmamde. Nn. gonCarovasTan erTad o. rozanova ruseTSi italiuri futurizmis iSviaT adeptTagani iyo. 1914 wels tomazo marinetis piradi miwveviT swored rozanovam miiRo monawileoba romSi gamarTul saerTaSoriso Tavisufal futuristul gamofenaSi_“Esposizione Libera futurista internasionale”. 1915-1916 wlebSi monawileobda gamofenebSi «Трамвай 13» da «Последняя футуристическая выстывка». 1915 wlidan o. rozanova moskovSi cxovrobda. 1917 wels maleviCis mier organizebul gaerTianeba «Супремус»-Si Sevida. revoluciis Semdeg aqtiurad monawileobda sazogadoebriv cxovrebaSi. 1918 wlidan iyo saxviTi xelovnebis saxalxo komisariatis kolegiis wevri. rodCenkosTan erTad Camoayaliba samrewvelo qveganyofileba. 1918 wels Tavisufali saxelosnoebis organizatori iyo bogorodskisa da ivano-voznesenskSi. 1919 wels, gardacvalebis Semdeg, moewyo misi personaluri gamofena.

olga rozanova. 1886. sof. malenki, ruseTi _ 1918. moskovi, ruseTi Olga Rozanova. 1886. Village Malenki, Russia – 1918. Moscow, Russia fermweri, grafikosi. ilustratori, Teoretikosi, poeti 1897-1904 wlebSi o. rozanova swavlobda vladimiris qalTa gimnaziaSi. bavSvobidan xatavda da werda leqsebs. 1905 wels samxatvro ganaTlebis misaRebad moskovSi gadavida. 1906 wels dadioda a. bolSakovis ferwerisa da qandakebis saxelosnoSi. 1907dan 1910 wlamde ki – k. iuonisa da i. dudinis skolaSi. 1911-1915 wlebSi peterburgSi cxovrobda. sazRvargareT ar yofila, riTac amayobda. 1910 wlis martSi peterburgSi o. rozanovam monawileoba miiRo mxatvarTa sazogadoeba «Союз молодёжи»- is SeqmnaSi. sazogadoebaSi Sediodnen: e. guro, p. filonovi, v. xlebnikovi, v. maiakovski, k. maleviCi, v. tatlini, n. udalcova, n. eqsteri, m. Sagali, Dd. burliuki, b. livSici. es periodi gansakuTrebiT mniSvnelovania misi, rogorc mxatvris Semdgomi ganviTarebisTvis. igi gatacebuli iyo Tanamedrove mxatvruli formebiT. muSaobda fovizmisa da neoprimitivizmis stiliT. 1911

Painter, graphic-artist, illustrator, theorist, poet In 1897-1904 O.Rozanova studied in the Vladimir girls’ school. Since childhood she drew and wrote verses. In 1905 she left for Moscow to study drawing. In 1906 she studied in A.Bolshakov’s studio of painting and sculpture and from 1907-1910 she continued studying at K.Juon and I.Dudin school. In 1911-1915 she lived in Petersburg. She never was abroad and was very much proud with it. In March 1910, in Petersburg, O.Rozanova took part of the in the creation of the society “Союз молодёжи”. These are the members of the society: U.Guro, P.Filonov, V.Hlebnikov, V.Majakovsky, K.Malevich, V.Tatlin, N.Udaltsova, N.Ekster, M.Shagal, D.Burljuk, and B.Livshits. This period is especially considerable for her, as for development of the artist. She was keen on modern art forms. She worked in style of fauvism and neoprimitiveness. In 1911 she some time studied at Zvantseva’s art school, where her teachers were: L.Bakst, M.Dobuzhinsky and K.Petrov-Vodkin. O.Rozanova’s creativity is characterized by change of different art tendencies and style, endless experiments, with which the artist tried to reach the individual art form and system in painting. This aspiration to renewal, to constant changes of art forms, she tried to prove theoretically. In 1912

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O.Rozanova, as a participant of “Союз молодёжи” delegation, left for Moscow to meet M.Larionov. The result of this meeting was that in 1913 a joint exhibition of works of “Союз молодёжи” and “Ослиный хвост” was organized. In March 1913, in the magazine of the society O.Rozanova’s lithographs and an article “Основы нового Творчества и причины его непонимания” were published. From1913 O.Rozanova’s creative communication with A.Kruchyonyh began. Rozanova brought the special contribution to development of the Russian futuristic book. Olga Rozanova began her creative activity from traditional realistic painting and through impressionism, Sezan, fauvism and cubism reached futurism. Rozanova, together with Goncharova, was one of the exclusive adherents of the Italian futurism in Russia. In 1914 Rozanova received the invitation from Tomazo Marinetti to the International free futuristic exhibition, organized in Rome- “Exposizione Libera Futurista Internationale”. In 1915-1916 she participated in the exhibition “Tram 13” and “The last futuristic exhibition”. From 1915 O.Rozanova lived in Moscow. In 1917 she joined the society “Супремус”, organized by Malevich. After the Revolution she actively participated in public life. From 1918 she was a member of board of the fine arts of the national commissariat. In 1918 she was the organizer of free workshops in Borodetsk and Ivanovo-Voznesensk. In 1919, after her death, her personal exhibition took place.

aleqsandre tiSleri. 1898. melitopoli, ukraina _ 1980. moskovi, ruseTi fermweri, grafikosi, Teatris mxatvari, moqandake 1912-1917 wlebSi tiSleri swavlobda kievis samxatvro saswavlebelSi. 19181919 wlebSi eswreboda mecadineobebs a. eqsteris saxelosnoSi, sadac Tavs iyrida im dros kievSi mcxovrebi niWieri mxatvrebisa da mwerlebis Taoba. kievSi gaicno n. mandelStami, i. erenburgi, d. Sklovski, mxatvrebi_s. nikritini, k. redko, g. CeliSCevi. bolSevikebis mier ukrainis dakavebis Semdeg monawileobda quCebisa da moednebis, tramvaebis, agitmatareblebis gaformebaSi. 1919 wels moxalised Caewera wiTel armiaSi. mxatvrad muSaobda samxreTis frontze, akeTebda agitgazeTebs, plakatebs. 1920 wels, demobilizaciis Semdeg, dabrunda kievSi. 1918-1920 wlebSi iyo ebrauli saganmanaTleblo organizacia kulturligis wevri. imave wels wavida melitopolSi, sadac gaxda «Окна РОСТА»-s erT-erTi organizatori. am wlebSi muSaobda fsevdonimiT `jin-jix-Svili~. 1921-1923 wlebSi swavlobda moskovis umaRles samxatvro-teqnikur institutSi (ВХУТЕМАС), v. favorskis klasSi. 1922-1924 wlebSi k. redkosTan, s. nikritinsa da a. labasTan erTad iyo proeqcionistebis jguf «Электроорганизмы»-isa da proeqcionistuli Teatris wevri. am moZraobis inspiratori samecniero aRmoCenebTan erTad, uTuod, iqneboda sabWoeTis sayovelTao eleqtrifikaciis leninuri gegmac. jgufSi gaerTianebuli mxatvrebi (al. tiSleri, k. redko, plaksini, triaskini) upirispirdebodnen rogorc adreul avangards, ise `akademistur

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realizms~ da Tanamedrove xelovnebis koncefciis eqsperimentul-analitikuri gaazrebisken mouwodebdnen. proeqcionizmi operirebda kategoriebiT: nakadi, dinamika, feris simkvrive. feri-bgera-moZraoba proeqcionistebis ferwerul-plastikur ZiebebSi ganuyofelia. 1920-ian wlebSi tiSleri qmnis usagno kompoziciaTa serias `feri da forma sivrceSi~. 1970-ian mxatvarma am namuSevarTa saavtoro gameoreba Seasrula. 1922-1924 wlebSi moskovis ferweruli kulturis institutis samxatvro sabWos wevri iyo. aqtiuri revoluciuri xelovnebis pirveli gamofenis Semdeg, 1925 wels, moskovis dazgur mxatvarTa sazogadoebas SeuerTda. 1932 wels, mxatvrul gaerTianebaTa daSlis Semdeg, mxatvarTa kavSiris moskovis organizaciaSi gawevrianda. 1925 wlidan Seasrula ilustrirebuli anbani sabWoTa kavSiris im xalxisa (kalmikebi, mordovebi, TaTrebi, idiSebi), visac gasabWoebamde ar hqonda anbani. 1941-1949 wlebSi tiSleri saxelmwifo ebrauli Teatris mTavari mxatvari iyo. II msoflio omis dros TeatrTan erTad evakuaciaSi gaemgzavra taSkentSi. 1943 wlidan, moskovSi dabrunebis Semdeg, aqtiurad moRvaweobda Teatris mxatvrobis dargSi. tiSleris gataceba abstraqtuli xelovnebiT didxans ar gagrZelebula. is male daubrunda figuratiul xelovnebas, magram misi ferweruli kompoziciebis metaforebi da fastasmagoriebi sruliad miuRebeli iyo socrealizmis adeptebisTvis, Sesabamisad, mxatvris namuSevrebi 1930-iani wlebidan TiTqmis aRar Cans gamofenebze. Alexander Tishler. 1898. Melitopol, Ukraine – 1980. Moscow, Russia Painter, graphic artist, artist of theatre, sculptor In 1912-1917 Tishler studied at Kiev art school. In 1918-1919 he visited the classes at A.Ekster’s studio, where the generation of gifted artists and writers, living at that time in Kiev, used to gather. In Kiev he got acquainted with N.Mandelshtam, I.Erenburg, and D.Shklovsky, - artists – S.Nikritin, K.Redko, and G.Chelishchev. After the conquest of the Ukraine by Bolsheviks, he took part in the designing of the streets and areas, trams and propaganda trains. In 1919 he joined the army as a volunteer. He worked as an artist on southern front, did propaganda newspapers, posters. In 1920, after demobilisation, he returned to Kiev. In 1918-1920 he was a member of Jewish educational organization “Culture league”. The same year he left for Melitopol where became one of the organizers of “Окна РОСТА”. These years he worked under a pseudonym “Jin-Jikh-shvili. In 1921-1923 Tishler studied in Moscow Higher Educational art-technical Institute (ВХУТЕМАС), in Favorski’s class. In 1922-1924 together with K.Redko, S.Nikritin and A.Labas was a member of projectionists’ group “Электроорганизмы” and projectionists’ theatre. He tried to introduce a modern language of movement, of plastics – body language - in art. In 1920s he createed series of pointless compositions - “Color and form in space”. In 1970s Tishler created the author’s repetition of these works. In 1922-1924 he was a member of painting art council of the Moscow Institute of culture. After the first exhibition of active revolutionary art, in 1925, he joined the Moscow society of easel painting. In 1932, after disintegration of art associations, he became a member of the Moscow organization of the union of artists. C 1925 he created the illustrated alphabet for those people of the Soviet Union who had no alphabet before the Soviet regime (Kalmyks, Mordvinians, Tatars). In 1941-1949 Tishler was the main artist of the State Jewish theatre. During the Second World War Tishler together with the

theatre was evacuated to Tashkent. From 1943, after returning to Moscow, he conducted active work in the art life of the theatre. Tishler’s passion for abstract art did not last long. He soon returned to figurative art, but the metaphors and phantasmagoria of his painted compositions were absolutely not comprehensible to adherents of the socialist realism, therefore works of the artist from 1930s were not at the exhibitions.

robert falki. 1886. moskovi, ruseTi _ 1958. moskovi, ruseTi fermweri, grafikosi, scenografi, pedagogi r. falki adreuli asakidanve gatacebuli iyo xatviTa da musikiT. mogonebebSi wers, romPbavSvobis yvelaze didi esTetikuri STabeWdileba sakuTari mzareuli qalis kidobnis saxuravis Sida kedelze dakruli lubokebis Tvalierebisas miiRo. 19041905 wlebSi swavla daiwyo k. iuonisa da i. dudinis kerZo skola-studiasa da i. maSkovis studiaSi. 1905-1912 wlebSi swavlobda moskovis ferweris, qandakebisa da xuroTmoZRvrebis saswavlebelSi a. arxipovis, a. vasnecovis, l. pasternakis, v. serovisa da k. korovinis klasebSi. am ukanasknelma gansakuTrebiT didi gavlena moaxdina falkis koloristad Camoyalibebaze. saswavlebelSi swavlisas daumegobrda i. maSkovs, a. lentulovs, a. kuprins, v. roJdestvenskis. 1910 wels maTTan erTad mxatvarTa gaerTianeba «Бубновый валет»-is erT-erTi damaarsebeli da 1916 wlamde aqtiuri wevri iyo. sxva `valetebis~ msgavsad, misi mxatvroba efuZneba xalxur xelovnebas, sezanis Semoqmedebasa da analitikur kubizms. amasTanave, falkis SemoqmedebaSi Zlieria rusuli realisturi xelovnebis skolis tradiciebi. Tavis namuSevrebSi falki yovelTvis inarCunebda realuri samyaros vizualur cnobadobas. 1911 wels falkma imogzaura italiaSi. 1917 wels mxatvarTa gaerTianeba «Мир искусства»-s wevria. 1918-1921 wlebSi muSaobda saxalxo komisariatis saxviTi xelovnebis ganyofilebis xelovnebisa da mxatvruli mrewvelobis moskovis kolegiaSi. 1918-1928 wlebSi ferweris profesoria umaRles samxatvro teqnikur institutSi _ВХУТЕМАС. 1921 wels gaxda ebrauli kulturis xelSemwyobi gaerTianeba kulturligis wevri. 1922-1925 wlebSi muSaobda scenografad moskovis saxelmwifo ebraul TeatrSi. 1925 wels mxatvarTa sazogadoeba `Московские живописцы~-s wevria. 1928-1937 wlebSi klasikuri xelovnebis Seswavlis mizniT cxovrobda parizSi. moskovSi dabrunebis Semdeg a. kuprinisa da a. roJdestvenskis aqtiuri daxmarebiT saxelosno miiRo percovas cnobil saxlSi. 1941-1943 wlebSi evakuirebuli iyo baSkireTSi, Semdgom_Sua aziaSi, samaryandSi. pedagogiur moRvaweobas eweoda uzbekeTis samxatvro teqnikumSi. aqtiurad moRvaweobda Teatraluri xelovnebis dargSi. 1942 wels muSaobda freskaze `darvinizmi~ samaryandis mxareTmcodneobis muzeumSi. 1943 wlis bolos moskovSi dabrunda. araerTxel

gaakritikes `formalizmis~ gamo. falkis gviani periodis Semoqmedeba, faqtobrivad sabWoTa periodis `araoficialuri xelovnebis~ winamorbedadaa miCneuli. Robert Falk. 1886. Moscow, Russia – 1958, Russia Painter, graphic- artist, artist of scenography (set designer), teacher R.Falk since early years took a great interest in drawing and music. In his memoirs he writes that he received the biggest aesthetic impression of his childhood, looking through the bastes, which were pasted on the inside part of the chest, belonged to their cook. In 1904-1905 Falk started to study at K.Juon and I.Dudin’s private school-studio and I.Mashkov’s studio. In 1905-1912 he studied in Moscow school of painting, sculpture and architecture in A.Arhipov, A.Vasnetsov, L.Pasternak, V.Serov and K.Korovin classes, when the last had great influence on formation of Falk as the colorist-artist. During study at school he made friends with I.Mashkov, A.Lentulov, A.Kuprin, and V.Rozhdenstvensky. In 1910 together with them he was one of the founders of the society “Бубновый валет” and was its active member till 1916. As well as in others “валет’s”, his painting was based on folk art, Cezanne’s creativity and analytical cubism. At the same time, in creativity of Falk traditions of school of Russian realistic art are strong. In 1911 Falk travelled in Italy. In 1917 he becomes a member of the society of artists “Мир искусства.” In 1918-1921 he worked in the Moscow board of department of the fine arts and the art industry of the national commissariat. In 1918-1928 he is the professor of painting of the higher art-technical institute – ВХУТЕМАС. In 1921 he became a member of “culture league” of the society promoting the Jewish culture. In 1922-1925 he worked as the set designer at the Moscow State Jewish theatre. From 1925 he was a member of the society of artists “Московские Живописцы”. In 1928-1937 for the purpose of studying of classical arts he lived in Paris. After returning to Moscow with A.Kuprin and A.Rozhdestvensky’s active assistance he received a workshop in known house of Pertsova. In 1941-1943 he was evacuated to Bashkiria, then – to Central Asia, to Samarkand. He conducted pedagogical activity in art technical school of Uzbekistan. He conducted the vigorous activity in the field of theatrical art. In 1942 he worked over the fresco “Darwinism” in the naturalists’ museum. By the end of 1943 he returned to Moscow. He was time and again criticized for “formalism”. Creativity of Falk’s last period was actually considered as the predecessor of “informal art” of the Soviet period.

niko firosmanaSvili (firosmani). 1863. mirzaani, saqarTvelo _ 1918. Tbilisi, saqarTvelo fermweri n. firosmani daibada mirzaaneli glexis ojaxSi. 1870 wlidan, mSoblebis gardacvalebis Semdeg, kaxeTSi venaxebis mepatroneebis, kalantarovebis ojaxSi izrdeboda, jer _ SulaverSi, Semdeg_TbilisSi. xatvam bavSvobidan gaitaca, Tumca profesiuli ganaTleba ar miuRia. 1883 wels misi namuSevrebi Tbiliselma somexma mxatvarma g. baSinjaRianma naxa da urCia, xatvis Seswavla daewyo. 1883-1884

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wlebSi firosmani xelobas swavlobda TbilisSi, mileris tipografia `beWdviTi saqmeSi~. 1888 (1889) wels mxatvar g. zaziaSvilTan erTad firosmanma veliaminovis quCaze samxatvro saxelosno gaxsna, Tumca saqmeebi cudad wavida da mxatvrebi iZulebulni gaxdnen, saxelono daexuraT. 1890 wels firosmanma memuxruWe konduqtorad daiwyo muSaoba transkavkasiis sarkinigzo magistralze. 1893 wels janmrTelobis mdgomareobis gamo samsaxuri datova. 1894 wels kompanion d. aluRiSvilTan erTad e.w «Колючая балка»-sTan gaxsna rZis duqani da misi fasadi sakuTari ferweruli suraTebiTa da abriT Seamko. 1895 wels kompanionebma duqani «солдатский» bazarze gadaitanes. 1898-1899 wlebSi firosmani xSirad Cadioda mirzaanSi, dasTan da saxlis mSeneblobac wamoiwyo. igi bevrs xatavda, Seqmna `mirzaanis cikli~, romelTagan umravlesoba dakargulia. 1899 weli firosmanisTvis warumatebeli aRmoCnda rogorc savaWro, ise pirad cxovrebaSi. man mZimed gadaitana patara naTlulis, marusia aluRiSvilis, sikvdili, uari Tqva daqorwinebaze, uTanxmoeba mouvida dasa da siZesTan. igi bevrs svamda da rZis duqanSic miatova muSaoba. TbilisSi firosmans mudmivi sacxovrebeli ar hqonda, kvebis safasurad xatavda suraTebs da sadgurTan axlos, duqnebSi, yidda. 1905 wels gazeT «Тифлисский листок»-Si daibeWda anonsi TbilisSi `saxelganTqmuli msaxiobi qalis~, frangi margarita de sevris, gastrolebis Sesaxeb. am qals ukavSirdeba legenda firosmanis uiRblo siyvarulis Sesaxeb. 1909 wels Seiqmna suraTi àqtrisa margarita~. 1910 wels firosmanma datova meduqne bego iaqievi, uari Tqva masTan cxovrebis SedarebiT stabilur pirobebze da sacxovreblad da samuSaod orTaWalaSi, titiSCevis èldoradoSi~, gadavida. es misi Semoqmedebis yvelaze nayofieri periodi iyo, magram firosmanma male èldoradoc~ datova. Tavs suraTebis gayidviT irCenda. drodadro, maTe gvimraZis duqan `raWis~ mcire saTavsSi cxovrobda. aq Seiqmna misi Sedevri `qeifi gvimraZesTan~. 1912 wlis martSi sadgurTan axlos, sabaJos quCaze, duqan `variagSi~, firosmanis namuSevrebi peterburgidan TbilisSi ardadegebze Camosulma mxatvrebma k. zdaneviCma da m. le-dantium aRmoaCines. megobrebma daiwyes firosmanis sxva namuSevrebis moZieba da Segroveba. male maT il. zdaneviCic SeuerTda. swored misi saSualebiT gaecno firosmanis Semoqmedebas m. larionovi. 1913 wels, man «Московская газета»-Si gamoaqveyna werili, romelSic pirvelad iyo naxsenebi firosmani da misi ferwera. 1913 wels il. zdaneviCi TbilisSi Camovida specialuri misiiT, moeZebna firosmani. gogolis quCaze zdaneviCma miagno firosmans. masTan urTierTobis ramdenime dRe aRwera sakuTar dRiurSi. firosmanma Seasrula il. zdaneviCis portreti. 1913 wlis 10 Tebervals gazeT «Закавквзская речь»-Si daibeWda pirveli statia firosmanze, il. zdaneviCis «Художник-самородок». am periodSi firosmani cxovrobda malaknebis quCaze, sandro qoClaSvilis duqan `kardenaxSi~. 1913 wlis martSi moskovSi, avangarduli xelovnebis gamofena «Мишень»-ze eqsponirebuli iyo firosmanis oTxi namuSevari `qaliSvili ludis kaTxiT~, ìlia zdaneviCis portreti~, `naturmorti~, ìremi~ m. le-dantiusa da i. zdaneviCis koleqciebidan. 1914 wels il. zdaneviCma gamoaqveyna meore statia firosmanze gazeT «Восток»-Si. am dros firosmani Tavis megobar mewaRe WinkasTan cxovrobda. fulis uqonlobis gamo saRebavebs veRar yidulobda, daubrunda muyaoze xatvas, romlis grunts olifaSi gaxsnili WvartliT akeTebda. zafxulSi sastumro `vladikavkasiuri nomrebis~ mflobel

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ivane abaevTan firosmanma vaJa-fSavela gaicno da misi poeziisadmi Tayvaniscemis niSnad suraTi `funikuliori~aCuqa. 1915 wels frontidan dabrunebulma il. zdaneviCma l. gudiaSvilTan, a. baJbeuq-meliqovsa da z. valiSevskisTan erTad gaagrZela firosmanis namuSevrebis moZieba da Sesyidva. 1916 wlis 5 maiss ilia zdaneviCis iniciativiT missave saxelosnoSi, sviatopolsk-mirskis quCaze, gaixsna firosmanis erTdRiani gamofena, romelzec warmodgenili iyo Zmebi zdaneviCebis koleqciaSi daculi suraTebi. presaSi ramdenime dadebiTi recenzia daibeWda. 1916 wlis 15 maiss dimitri SevardnaZem `qarTvel xelovanTa sazogadoebis~ krebaze daayena sakiTxi firosmanis yvela namuSevris moZiebis, Sesyidvisa da mxatvris Sesaxeb informaciis mopovebis Sesaxeb. 25 maiss firosmani `sazogadoebis~ saerTo krebaze miiwvies. i. nikolaZem, a. mrevliSvilma da S. qiqoZem fanqriT mxatvris portretuli Canaxati Seasrules. firosmans mcire finansuri daxmareba gauwies da, d. SevardnaZis iniciativiT, golovinis prospeqtze eduard klaris atelieSi foto gadauRes. maisis bolos firosmanma `qarTvel xelovanTa sazogadoebas~ gadasca dapirebuli suraTi `qorwili saqarTveloSi Zvel dros~. suraTis reproduqcia warweriT _ `niko firosmani, saxalxo mxatvari~ daibeWda gazeT `saxalxo furcelSi~. tragikuli aRmoCnda mxatvrisTvis 1916 wlis ivnisis bolos imave gazeTSi z. g.-s inicialebiT dabeWdili karikatura_firosmani molbertiT xelSi misi Semoqmedebis damamcirebeli teqstiT. firosmanma mZimed gadaitana es dartyma. Tumca sandro qoClaSvilis SekveTiT muSaobas mainc agrZelebda. oqtomberSi il. zdaneviCma sakuTar saxlSi, aguris Sesaxvev @#13-Si, moawyo firosmanis namuSevrebis meore gamofena. 1917 wels `qarTvel xelovanTa sazogadoebam~ kvlav gamouyo daxmareba firosmans, romelic mas l. gudiaSvilma gadasca. es `sazogadoebis~ warmomadgenelTan firosmanis ukanaskneli Sexvedra iyo. 1918 wels igi mcire xniT zestafonSi, duglaZis duqanSi, muSaobda. TbilisSi ukve mZimed avadmyofi dabrunda. misi bolo sacxovrebeli malaknebis quCaA #29-Si, kibis qvemoT mcire saTavso, iyo. 28 marts, aRdgomis Rames, ugonod myofi mezobelma mewaRe arCil maisuraZem ipova. imave Rames mixailovis saavadmyofoSi gardaicvala. igi dakrZales kukiis wm. ninos sasaflaoze, Rarib da upatrono micvalebulTaTvis gankuTvnil adgilze. misi saflavi ucnobia. firosmanis sikvdilis Semdeg interesi misi pirovnebisa da Semoqmedebis mimarT ganuzomlad gaizarda da dResac ar iklebs. ganusazRvrelia misi mniSvneloba qarTuli xelovnebis ganviTarebisTvis. firosmanis namuSevarTa gamofenebi saqarTvelosa da msoflios mraval qveyanaSi gaimarTa.

Niko Pirosmanashvili (Pirosmani). 1863. Mirzzaani, Georgia – 1918. Tbilisi, Georgia Painter N.Pirosmani was born into a poor peasant family in Mirzaani. From 1870, after death of parents, he was brought up in the family of Kalantarovs, owners of vineyards in Kakheti. He lived at first in Shulaveri, and then – in Tbilisi. He developed a passion for drawing at an early age though he did not receive professional education. In 1883 his works saw the artist G.Bashindzhagjan and advised

him to start to study drawing. In 1883-1884 Pirosmani studied typographical business in Tbilisi printing house “Printing business”. In 1888 (1889) Pirosmani, together with the artist G.Zaziashvili, opened an art workshop in Velyaminov Street, but things were in a bad way and the artists had to close the workshop. In 1890 Pirosmani started to work as the brake conductor on the Transcaucasian railway. In 1893, because of illness, left the work. In 1994, together with the partner D.Alugishvili, at so-called “the Prickly beam” (Колючая балка), opened a dairy dukhan and decorated its facade with own pictures and a signboard. In 1895 the partners transferred the dukhan on “The Soldier’s market” (Солдатский базар). In 1898-1899 Pirosmani often went in Мирзаани to his sister and began to build a house. He drew much, created “Mirzaani cycle”, majority of them is lost. 1899 appeared for Pirosmani unsuccessful both in trading business and in private life. He went through much sorrow according to death of its small goddaughter Marusja Alugishvili, refused to marry and quarreled with sister and the brother-in-law. He drank much and ceased to work in the dukhan. In Tbilisi Pirosmani had no constant residence, instead of a payment for meal he drew pictures and near to the station, in dukhans, sold them. In 1905 in the newspaper”Tbilisi leaflet” the announcement about the tours of “the glorified actress”, Frenchwoman Margarita de Sevr was printed. The legend about unfortunate love of Pirosmani to this woman is connected with her. In 1909 the picture “Actress Margarita” was created. In 1910 Pirosmani left the owner of the dukhan Bego Jakiev, refused the rather stable conditions and moved to live and work in Ortachala, Titishchev’s “Eldorado”. It was the most fertile period in Pirosmani’s creativity, but he soon left “Eldorado” and began to sell pictures to earn for life.. From time to time he lived in a small room of the Dukhan “Racha” at Mate Gvimradze. Here his masterpiece “Carouse at Gvimradze” was created. In March 1912, near to the station, in the dukhan the “Varangian”, just arrived on the vacation in Tbilisi artists K.Zdanevich’s and M. le-Dantju discovered Pirosmani’s works. The friends have desire to discover and collect Pirosmani’s other works. Soon Ilja Zdanevich joined them. Through these artists M.Larionov familiarized with Pirosmani’s works. In 1913 he published a letter in “The Moscow newspaper” where about Pirosmani and his creativity was told for the first time. In 1913 Ilja Zdanevich arrived to Tbilisi with special mission – to find Pirosmani and he found him in Gogol Street. Zdanevich described some day’s of staying with him in his diarу. Pirosmani executed portrait of Ilja Zdanevich. On February, 10th 1913 in the newspaper “Transcaucasian speech” Ilja Zdanevich published the article about Pirosmani - “Artist-nugget”. During this period Pirosmani lived in Molokansky Street, in the dukhan “Kardenakh”, which belonged to Sandro Qochlashvili. In March 1913, at the exhibition of avant-garde art “Target”(Мишень), four works of Pirosmani were presented:” A girl with a glass of beer”, “Portrait of Ilja Zdanevich”, “Still-life” and “Deer” from the collections of M. le-Dantju and I.Zdanevich. In 1914 Ilja Zdanevich published the second article about Pirosmani in the newspaper “Восток” (East). At that time Pirosmani lived at his friend - shoemaker Chinka. Because of shortage of money he could not buy paints and consequently returned to painting on cardboard , ground of which he made by mixing of drying oil with soot. In summer he got acquainted with Vazha Pshavela at Ivan Abaev, the owner of hotel “Vladikavkaz numbers” and as a sign of worship to his poetry, presented to him the picture “Funicular”. Having returned from front in 1915, Ilja Zdanevich, together with L.Gudiashvili, A.Bazhbeuk-Melikov and Z.Valishevsky, continued searching and buying up Pirosmani’s works. On May, 5th 1916, on the initiative of Ilja Zdanevich, in his own workshop, in the street Stavropolsk-Mirsky, the exhibition of Pirosmani’works, stored in Zdanevich’s collection, was opened. In the newspapers some positive reviews were published. On May, 15th 1916, at the meeting of the “Society of the Georgian artists” Dmitry Shevardnadze raised the question about buying

and finding the information about Pirosmani. On May, 25th Pirosmani was invited to the general meeting of the “Society”. J.Nikoladze, A.Mrevlishvili and S.Kikodze made pencil sketches of the artist. A small financial help was given to the artist and, at the initiative of D.Shevardnadze, on Golovin Avenue, in studio of Edward Klar took photo of him. By the end of May Pirosmani presented to “The Union of the Georgian artists” the promised picture “Old time wedding in Georgia”. The reproduction of the picture was published in the newspaper “National Leaflet” with the inscription – Niko Pirosmani – the national artist. The caricature of Pirosmani with an easel in hands, signed by initials Z.G. and the text to it, published in the same newspaper in the end of June 1916, appeared humiliating for the artist. Pirosmani was offended and couldn’t take it, but he continued to work over orders of Sandro Qochlashvili. In October Ilja Zdanevich, in his own house, the Brick lane №13, organized the second exhibition of Pirosmani’s works. In 1917 “The Society of Georgian artists” again assisted Pirosmani, which was delivered to him by L.Gudiashvili. It was his last meeting with the representative of “The Society”. In 1918 Pirosmani for some time worked in Zestafoni, in Douglas’ dukhan. He returned to Tbilisi seriously sick. A small closet under a ladder in the street Malakansky №29 was his last dwelling. On March, 28th, on the Easter night, shoemaker Archil Majsuradze found him unconscious. The same night he died in Mihajlov hospital. He was buried in St. Nino cemetery on Kukija, on the place of poor and homeless; his burial place is not known. After death of Pirosmani the interest to this person and to his creativity strongly increased. The value of Pirosmani’s art is immeasurable for the development of Georgian art. Exhibitions of Pirosmani’s works are organized in Georgia and many other countries of the world.

aleqsandre SevCenko. 1883. xarkovi, ukraina _ 1948. moskovi, ruseTi fermweri, grafikosi, xelovnebis Teoretikosi

pedagogi,

1890-1901 wlebSi a. SevCenko swavlobda xarkovis realur saswavlebelSi. mamis gardacvalebis Semdeg izrdeboda bebiis ojaxSi, romelTanac xSirad stumrobda ulix-vimbergebis, baletisa da cirkis msaxiobTa, ojaxi. a. SevCenkom n. ulixis meTvalyureobiT daiwyo naxatisa da akvarelis teqnikis aTviseba. gatacebuli iyo TeatriT da muSaobda dekoraciebis saxelosnoSi, sadac mxatvari i. suvorovi aswavlida dekoraciebisa da maketebis warmoebas. 1898 wels dedasa da maminacvalTan erTad sacxovreblad gadavida moskovSi. 1898-1907 wlebSi swavlobda stroganovis saxelobis samxatvro-samrewvelo saswavlebelSi, liTonze Wedurobis klasSi. 1905-1907 wlebSi cxovrobda parizSi. swavlobda Julienis akademiaSi, Semdeg ki - e. kareras saxelosnoSi, kareras sikvdilis Semdeg - etien dinsa da Jan-pol loranTan. gatacebuli iyo impresionizmiT. imogzaura inglisSi, espaneTSi, egviptesa da TurqeTSi. monawileobda gamofenebSi. moskovSi dabrunebis Semdeg swavla ganagrZo stroganovis saswavlebelSi. 1908 wlidan swavlobda moskovis ferweris, qandakebisa da xuroT-

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moZRvrebis saswavlebelSi, sadac misi maswavleblebi iyvnen a. arxipenko da k. korovini. masTan erTad swavlobdnen a. kuprini, d. burliuki, r. falki. gansakuTrebiT megobrobda m. larionovTan, romelmac mas memarcxene mxatvrebi da poetebi gaacno. 1909 wels 67 sxva studentTan erTad garicxes saswavleblidan. 1910 wels m. larionovis iniciativiT gaixsna gamofena «Бубновый валет». Tumca, monawileebs Soris warmoqmnili konfliqtis gamo am gaerTianebas gamoeyo m. larionovisa da n. gonCarovas jgufi. a. SevCenko, romelic a. larionovTan megobrobda, am jgufs miemxro da monawileoba miiRo gamofena «Ослиный хвост»-is organizebasa da saprogramo manifestis SeqmnaSi. am wlebSi dawera saprogramo statiebi: «Неопримитивизм. Его теория. Его возможности. Его достижения»; «Принципы кубизма и других современных течений живописи всех времён и народов»; «Динамо-тектонический примитив». 1914 wels monawileobda gamofenaSi «#4» Футуристы, лучисты, примитив». miuxedavad avangarduli Ziebebisa da am wreSi aqtiuri moRvaweobisa, a. SevCenkos SemoqmedebaSi TiTqmis arasdros ikargeba kavSiri klasikur xelovnebasTan. ferweris dazgurobis principi misTvis gadamwyveti mniSvnelobis mqone iyo. am periodis Semoqmedebaze gansakuTrebiT didia p. sezanis, xalxuri xelovnebisa da firosmanis gavlena. 1914 wels SevCenko gaiwvies moqmed armiaSi. 1916 wels daiWra, ris Semdegac demobilizebul iqna da 1917 wels moskovSi dabrunda. 1918-1921 wlebSi xelmZRvanelobda ganaTlebis saxalxo komisariatis xelovnebis saqmeTa literaturul-samxatvro qveganyofilebas. 1919 wels a. griSCenkosTan erTad daaarsa ferweruli kulturis muzeumi. 1918-1929 wlebSi pedagogiur moRvaweobas eweoda umaRles samxatvro teqnikur institutSi (ВХУТЕМАС//ВХУТЕИН). iyo gaerTianeba «Маковец»-isa da ` «Общество московских художников»-is wevri. 1920-iani wlebis bolos imogzaura yazaxeTSi, azerbaijansa da saqarTveloSi. saxalxo ganaTlebis komisariatma miavlina baTumSi. 1926 wels Seqmna gaerTianeba «Цех живописцев». 1941 wlidan iyo moskovis teqstilis institutis ferweris kaTedris xelmZRvaneli. misi Semoqmedeba araerTxel gamxdara ideologiuri kritikis sagani. 1933 wels mxatvris personaluri gamofena moulodnelad da dagegmilze adre daixura. 1930-1940-ian wlebSi SevCenko kvlav ubrundeba axalgazrdobisdroindel gatacebas - impresionistul ferweras.

Alexander Shevchenko. 1883. Kharkov, Ukraine – 1948. Moscow, Russia Painter, graphic-artist, teacher, art theorist In 1890-1901 A. Shevchenko studied in the Kharkov real school. After death of the father he was brought up in the family of his grandmother who often had on a visit the family of Ulikh-Vimberg, actors of ballet and circus. Under the guidance of N.Ulih A. Shevchenko started to study techniques of drawing and water color. He was keen on theatre and worked in a workshop of stage scenery, where artist I. Suvorov taught making of scenery and models. In 1898 together with mother and stepfather he moved to live to Moscow. In 1898 – 1907 he studied in Stroganov art-industrial school, in the class of chasing. In 1905 – 1907 he lived in Paris, studied in academy of Zhulen and then – in E.Kareras’s workshop; after death of Kareras he studied at Etjen Dynes and Jean-Paul Loran. He took a great interest in impressionism. He traveled to England, Spain,

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Egypt and Turkey, participated in exhibitions. After returning to Moscow he continued to study in Stroganov School. From 1908 he studied in the Moscow school of painting, sculpture and architecture where his teachers were A.Arhipenko and K.Korovin. A.Kuprin, D.Burljuk and R.Falk studied together with him. He was on friendly terms especially with M.Larionov who got acquainted him with the leftist artists and poets. In 1909, he, together with other 67 students, was excluded from school. In 1910 under the initiative of M.Larionov, the exhibition “Бубновый валет”was opened. Though, because of the conflict among the participants, the group of M.Larionov and N.Goncharova separated the society. A. Shevchenko, who was on friendly terms with A.Larionov, joined this group and took part in the organization of the exhibition “Ослиный хвост” and the programme of the manifesto. He wrote the programme articles: «Неопримитивизм. Его теория. Его возможности. Его достижения»; «Принципы кубизма и других современных течений живописи всех времён и народов»; «Динамо-тектонический примитив». In 1914 he participated in the exhibition «№4» Футуристы, лучисты, примитив». Despite the avant-garde searches and the vigorous activity in these circles, the relationship with classical art was never lost in A. Shevchenko’s creativity. The easel painting principle had crucial importance for him. P.Sezan, Pirosmani and national creativity’s influence is especially great on his creativity of that period. In 1914 Shevchenko was called in army. In 1916 he was wounded, then he was demobilized and in 1917 he returned to Moscow. In 1919 together with A.Grishchenko founded a museum of painting art. In 1918 – 1929 he was the teacher at the Higher Art Technical Institute (ВХУТЕМАС//ВХУТЕИН). He was a member of the society «Маковец» and «Общество Московских художников». In the late twenties he traveled to Kazakhstan, Azerbaijan and Georgia. The commissariat of national education directed him to Batumi. In 1926 he founded the association «Цех живописцев». From 1941 he was the head of chair of painting at the Moscow Institute of Textiles. His creativity not once became a subject of ideological criticism. In 1933 the personal exhibition of the artist was closed unexpectedly. In 1930-1940 Shevchenko again came back to the old flame of his youth - impressionistic painting.

vasil Suxaevi. 1887. moskovi, ruseTi _1973. Tbilisi, saqarTvelo fermweri, grafikosi, Teatrisa da kinos mxatvari, monumentalisti, pedagogi 1897 wels v. Suxaevi saswavleblad moskovis stroganovos centralur samxatvro-samrewvelo saswavlebelSi miabares. misi pedagogebi iyvnen fermwerebi: k. korovini, b. nivinski, d. SCerbinovski. Wedurobis klasis damTavrebis Semdeg v. Suxaevs swavluli mxatvris wodeba mieniWa. 1906 wels peterburgis samxatvro akademiaSi Caabara. mesame kursze man mecadineoba daiwyo d. kardovskis saxelosnoSi, sadac studenturi cxovrebis yvelaze nayofieri wlebi gaatara. kardovski, niWieri pedagogi, p. Cistiakovis akademiuri skolis saukeTeso tradiciebis gamgrZelebeli, axalgazrda mxatvrisTvis ara mxolod maswavlebeli, aramed megobaric iyo. akademiaSi v. Suxaevi dauax-

lovda a. iakovlevs, romelic momavalSi erTguli megobari da Tanamoazre gaxda. òri aiaqsi” - ase uwodebda maT zogierTi kritikosi. 1906-1912 wlebSi Suxaevi srulyofilad daeufla sanginis teqnikas. 1908 wels muSaobda v. meierholdis ìntermediis saxlSi”. igi erTmaneTs uTavsebda mxatvrisa da msaxiobis profesiebs. XX saukunis 10-ian wlebSi ruseTis xelovnebaSi sxvadasxva avangardul mimdinareobasTan erTad, romlebic dafuZnebuli iyo tradiciis uaryofaze, isaxeba axali mimdinareoba_neoklasicizmi. mis wevrebs Soris a. iakovlevsa da z. serebriakovasTan erTad vasil Suxaevic iyo. akademiis damTavrebis Semdeg, 1913 wels, Suxaevi italiaSi gaemgzavra, sadac a. iakovlevs Sexvda. 1913-1914 wlebSi megobrebi bevrs mogzaurobdnen italiis qalaqebSi. 1914 wels kunZul kaprize Seiqmna Suxaev-iakovlevis erToblivi namuSevari, ormagi portreti àrlekini da piero”. Suxaevi TanamSromlobda v. meierholdis Jurnal «Любовь к трём апельсинам. Журнал Дапертутто»-sTan. 1914 wels Suxaevi ruseTSi dabrunda. 1915 wels man miwveva miiRo laibgvardiis ulanis polkidan da Seqmna ocdaaTze meti naxati-portreti da scena polkis cxovrebidan. 1916 wels v. Suxaevi isev armiaSia, amjerad, rigis frontze, meoTxe husarTa laibgvardiis mariupolis polkSi, sadac asrulebda Canaxatebsa da eskizebis serias didi ferweruli tilosTvis - `polki poziciebze”. Suxaevma Seqmna portretTa cikli, romelic sanginiT Sesrulebuli ormocdaToTxmeti SesaniSnavi naxatisgan Sedgeba. pedagogiur moRvaweobas eweoda peterburgis arqiteqturisa da dekoratiuli xelovnebis umaRles saswavlebelSi. TanamoazreebTan - kardovskisa da iakovlevTan erTad Suxaevma Seqmna profesionalTa kavSiri «Цех святой Луки», romelic maleve daiSala. 1918 wels, oqtombris revoluciis erTi wlis Tavze, v. Suxaevi megobar mxatvrebTan erTad monawileobda petrogradis sazeimo gaformebaSi. amave wels Suxaevi TanamSromlobda mxatvrul-literaturul klub «Привал комедиантов»-Tan. 1920 wels, a. lunaCarskis rCeviT, meuRlesTan erTad sazRvargareT, Tavdapirvelad, fineTSi, xolo Semdeg ki, a. iakovlevis daxmarebiT, safrangeTSi gaemgzavra da iq dasaxlda. fineTSi Sesrulebul namuSevarTa ciklSi pirvelad iCens Tavs Suxaevis gataceba avangarduli xelovnebis tendenciebiT. es gataceba didxans ar gagrZelebula. klasikuri xelovnebis tradicia, realisturi `swori~ formis, SuqCrdilovani modelirebisa da xazis primati mxatvris Semoqmedebis ZiriTadi maxasiaTeblebi iyo. avangarduli elferis namuSevrebi Suxaevis Semoqmedebis iSviaTi nimuSebia. 1924 wels Suxaevi TanamSromlobda n. balievis Teatr «Летучая мышь»-Tan, xolo 1933 wels_ida rubinSteinis TeatrTan parizSi. 1925-1931 wlebSi muSaobda monumenturi mxatvrobis dargSi safrangeTsa da marokoSi.A 1935 wels Suxaevi sabWoTa kavSirSi dabrunda. eweoda nayofier pedagogiursa da samxatvro moRvaweobas. 1937 wels stalinuri reJimis represiebi am SesaniSnav Semoqmedsac Seexo. cru braldebebisa da ciliswamebebis Sedegad Suxaevi meuRlesTan erTad magadanSi gadaasaxles. igi muSaobda magadanis m. gorkis saxelobis musikalur-dramatul TeatrSi. 1947 wels Suxaevi meuRlesTan erTad TbilisSi dasaxlda. aq maTi maspinZeli elene axvlediani iyo. 1947-1948 wlebSi mxatvrulad gaaforma Tbilisis zaqaria faliaSvilis saxelobis operisa da baletis, aseve kote marjaniSvilis saxelobis dramatuli Teatrebis speqtaklebi. 1947 wlidan Tbilisis saxelmwifo samxatvro akademiis grafikis kaTedris profesori iyo.

Vasily Shuhaev. 1887. Moscow, Russia – 1873. Tbilisi, Georgia Painter, graphic-artist, artist of theatre and cinema, muralist, teacher In 1897 V.Shuhaev started to study in the Moscow Stroganov Central art-industrial school. His teachers were painters: K.Korovin, B.Nivinsky, and D.Shcherbinovsky. After the finishing of the class of chasing, V.Shuhaev received the rank of the scientific artist. In 1906 he started to study in Petersburg Academy of arts. On the third year he started to study in the workshop of D.Kadrovsky, where he spent the most fruitful years of his collegiate life. Kadrovsky, talented teacher, the continuer of the best traditions of the academic school of P.Chistjakov, was for him not only a teacher, but a close friend. In the Academy V.Shuhaev got acquainted with A.Jakovlev who in the future would become his good friend and like-minded person. “Two Ajax” - so called them some critics. In 1906-1912 Shuhaev in perfection mastered sanguine techniques. In 1908 he worked in the” Interlude House” of Mejerhold. He combined professions of the artist and the actor. In 10s of the ХХc in Russian art, together with different avant-garde trends, which had been based on negation of traditions, the new trend – neoclassicism was born. Among them, together with A.Jakovlev and Z.Serebrjakova there was also Vasily Shuhaev. After his graduation of the Academy, in 1913, Shuhaev left for Italy, where he met A.Jakovlev. In 1913-1914 the friends much traveled through cities of Italy. In 1914 on island Capri, the joint work Shuhaev-Jakovlev, a double picture “the Harlequin and Piero” was created. Shuhaev co-operated with the magazine of Mejerhold “Любовь к трём апельсинам. Журнал Дапертутто”. In 1914 Shuhaev returned to Russia. In 1915 he accepted the invitation from Ulan Regiment of Life-Guard and created more than thirty drawing-portraits and a scene from the regiment life. In 1916 Shuhaev is again in army, this time already on the Riga front, in the fourth Mariupol hussar regiment of Life Guard where he carried out a series of sketches for the big picturesque canvas – “the Regiment on positions”. Shuhaev created a cycle of portraits which consists of fifty five fine works executed in sanguine. He was a teacher in the Petersburg higher educational institution of architecture and decorative art. Together with adherents - Kadrovsky and Jakovlev founded a society of professionals “Цех Святого Луки” which was soon broke up. In 1018, in a year after October revolution, Shuhaev together with friends- artists took part in celebratory decoration of Petrograd. The same year he co-operated with the art-literary club “Привал комедиантов.” In 1920, according to the advice of Lunacharsky, together with wife, went abroad, at first to Finland, and then, with help of A.Jakovlev, left for France and settled down there. In the cycle of the works executed in Finland is seen Shuhaev’s passion for tendencies of avant-garde art. But this enthusiasm did not proceed long. Tradition of classical art, a primacy of the realistic “correct” form, modeling of treatment of light and shade and a line, were the basic characteristic features of creativity of the artist. Works with avant-garde nuance are rare in creativity of Shuhaev. In 1924 he co-operated with N.Baliev’s theatre “Bat”, and in 1933 – with Rubinstein’s theater in Paris. In 1925-1931 he worked in sphere of monumental art in France and Morocco. In 1935 Shuhaev returned to the Soviet Union; conducted fruitful pedagogical and art activity. In 1937 reprisals of the Stalin regime concerned him also. Because of false evidences and witnesses he, with his wife, was sent into exhale in Magadan. He worked at music and drama theatre of M.Gorki in Magadan. In 1947 he, together with his wife, settled in Tbilisi. There Elena Ahvlediani was their hostess. In 1947-1048 he artistically designed performances at the Tbilisi Zachariah Paliashvili opera and ballet theatre and also at Kote Marjanishvili drama theatre. From 1947 he was the professor of the department of drawing in the Tbilisi Art Academy.

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proeqtis avtori da kuratori: nana ServaSiZe

Project author and curator Nana Shervashidze

Tanaavtorebi: nana gogelia, nona xaratiSvili

Coauthors Nana Gogelia, Nona Kharatishvili

koordinatori: mixeil wereTeli proeqtze muSaobdnen: dali gabunia, manana WeliZe, izolda qurdaZe, nino xundaZe, naTela lomiZe, manana alfeniZe, lela wiwuaSvili, joni axobaZe, nana managaZe, evelina karseli, eka TevzaZe, nino merabiSvili, maia seTuriZe, naTia korkotaSvili, nino burduli, Tea yvelaSvili, Tengiz qarTveliSvili, kaxa nikolaiSvili, avTo maisuraZe, Temur qvriviSvili, aleqsandre lipCenko fotofiqsacia: zaza maxaraZe malxaz maWavariani redaqtori: nino nadaraia Targmani: cira basilaZe dizaini da dakabadoneba: irakli xuciSvili

Coordinator Mikheil Tsereteli Project group: Dali Gabunia, Manana Chelidze, Izolda Qurdadze, Nino khundadze, Natela Lomidze, Manana Alpenidze, Manana Akhalkatsishvili, Lela tsitsuashvili, Joni Akhobadze, Nana managadze, Evelina Karseli, Nino Burduli, Eka Tevzadze, Nino Merabishvili, Maia Seturidze, Natia Korkotashvili, Tea Kvelashvili, Tengiz Qartvelishvili, Kakha Nikolaishvili, Avto Maisuradze, Temur Qvrivishvili, Alexandre Lipchenko Photography Zaza Makharadze, Malkhaz Machavariani Editor Nino Nadaraia Translation Tsira Basiladze Design and impose Irakli Khutsishvili

ydaze: kirile zdaneviCi. 1894-1975. dekoratiuli furceli. qaRaldi, akvareli, fanqari. ×/venera. qaRaldi, melani, tuSi. 35×22

katalogSi gamoyenebulia fotoebi tfilisis xedebiT d. ermkovis arqividan

Cover: Kirill Zdanevich. 1894-1975. Decorative paper. Water color and pencil on paper. ×/Venus. Ink and Indian ink on paper. 35×22

Photos of Tiflis from the fund of D. Ermakov are used in catalogue.

* varskvlaviT aRniSnuli fotoebi daculia fransua meres arqivSi (safrangeTi)

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* Marked photoes are kept in Francois Mere’s archive (France)

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