Georgian Easel Painting (Second Half of the 18th Century to by Irina Arsenishvili

By Irina Arsenishvili

Publication via Arsenishvili, Irina

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Additional info for Georgian Easel Painting (Second Half of the 18th Century to the 1920's)

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These are: the scenes of daily life of certain social groups, social types, street episodes, urban landscape with genre elements, scenes from the daily life of peasants, portraits. The genre form implying the rendition of everyday episodes of reality gains with Toidze a narrow, markedly “specific” character as well as more generalized artistic interpretation. Toidze. Daumier and G. Arkhipov. The Early Stage of Georgian Easel Painting 39 Illustration 31. M. Toidze. Laundress. 1903. Oil on canvas.

Illustration 24). Repin), for whom features of a specific-temporal action, concreteness of the inner state and outward activity are the means of psychological characterization of the image [12]. In Gabashvili’s work the model’s prolonged state is to a certain extent also justified by the plot, which enables him to focus attention on the constant, general, typical features of the image, his characteristic looks, physical strength, firmness of character. The statics of movement, close-up, generalization and expressiveness of the plastic form, which increases more by the interconnection of the figure and the background, define the significance of the image.

Mtskhetoba (fragment). 1899-1901. Oil on canvas. 193x279cm. Georgian National Museum. If Gabashvili’s aim is to create a general picture of a traditional religious feast, to achieve the compositional unity of the landscape setting presented on a large scale and the figures arranged in it, for Toidze, the plot, one might say, is a cause of the characterization of the 38 Irina Arsenishvili specific situation and individual personages. In his aspiration he, unlike Gabashvili, is close to the analytical character of Russian realistic painting.

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