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A Black Wild Boar
new25/Niko Pirosmanashvili-577646.jpg
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A_Black_Wild_Boar
Date 1906(1906)
Medium oil on oilcloth
Dimensions 74 X 58 cm (29.1 X 22.8 in)
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A Peasant Woman with Children Going to Fetch Water
new25/Niko Pirosmanashvili-765544.jpg
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A_Peasant_Woman_with_Children_Going_to_Fetch_Water
Date 1900s
Medium oil on oilcloth
Dimensions 92 X 111 cm (36.2 X 43.7 in)
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Feast with Organ-Grinder Datiko Zemel
new25/Niko Pirosmanashvili-566575.jpg
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Feast_with_Organ-Grinder_Datiko_Zemel
Medium English: Oil painting on oilcloth
עברית: ציור שמן על שעוונית
Dimensions 198 X 106 cm (78 X 41.7 in)
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Little Girl with a Patterned Balloon
new26/Niko Pirosmanashvili-663743.jpg
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Little_Girl_with_a_Patterned_Balloon
Date c. 1910-1912
Medium English: Oil painting on oilcloth
עברית: ציור שמן על שעוונית
Dimensions 64 x 37 cm (25.2 x 14.6 in)
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A Tatar Fruiterer
new26/Niko Pirosmanashvili-876948.jpg
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A_Tatar_Fruiterer
Date from 1910(1910) until 1912(1912)
Medium oil on cardboard
Dimensions 75 x 106 cm (29.5 x 41.7 in)
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Niko_Pirosmanashvili
(born Niko Pirosmanashvili; May 5, 1862-1918) was a Georgian primitivist painter.
Pirosmani was born in the Georgian village of Mirzaani to a pleasant family in the Kakheti province. His family owned a small vineyard. He was later orphaned and put in the care of his two elder sisters. He moved with them to Tbilisi in 1870. In 1872 he worked as a servant for wealthy families and learned to read and write Russian and Georgian. In 1876 he returned to Mirzaani and worked as a herdsman.
Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882 he opened a workshop in Tbilisi which was unsuccessful. In 1890 he worked as a railroad conductor, and in 1895 worked creating signboards. In 1893 he co-founded a dairy farm in Tbilisi which he left in 1901. Throughout his life Pirosmani, who was always poor, was willing to take up ordinary jobs including housepainting and whitewashing buildings. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than abstract aesthetics.
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