Nr 136 (910), WEDNESDAY 13 APRIL 1956
An Art Exhibition of Georgian Artists in Vilnius
From a quantitative point of view the open exposition looks magnificent, however it does not make a better impression on the visitors may be exactly because of being overburdened. Instead, when arranging the exhibition a more precise selection would have been more applicable, so that except for the valuable works of art, it does not consist of paintings just on the edge of amateurship.
For example let’s compare “Future” painted by the brush of B.Sanakajew with the painting of Sz. Makaszwili “ Returning from the pasture”, or the painting of D. Gabotaszwili named “House in Gori” with W.Szarpilowa’s painting “The Great Master’s Brotherly Council”. “Future” possesses a deep and ideological content, it differs with perfect composition and drawing, in a masterful way, light and space are very realistically reproduced in the painting. On the other side, in the painting “Returning from the pasture”, we cannot find these values – neither the pictorial range of colours, nor the technique of performance: the horse and the sheep are treated unprofessionally.
And how different the matters in “House in Gori” and “The Great Master’s Brotherly Council” are. In the first one the content of light is perfectly well caught, there is a rich tint range of dim and subtle reflections, which entirely lack in the other painting. Generally its composition is not bad but the transfer of unnecessary details in the first plan creates chaos and incoherence and distracts the attention from the people in the centre of the painting who represent the main content. Besides this, the poor and rough painting technique does not make the painting more appealing. The landscape studies of this author are on a much advanced level.
Among the other compositions W. Mdiwani’s small painting of “Korean Mother”, which has a deeply dramatic content, is worth distinction.
A. Gigotaszwili’s “Shepherd”, powerful in drawing, is well modeled on the background of a hot illuminated by the sun landscape.
In “Horse Racings” painted by G. Rojniszwili’s brush, there is a well reproduced sunny day with a bright colouring, however the horses on this painting can hardly be discerned from paper mache horsemen.
D. Gabitaszwili’s portrait compositions “Craving for Knowledge” and “Czewsur” are on a high artistic level, however such a talented artist must clear up the range of colours in his works. B. Sanakojew’s portrait studies are also distinctive with their propriety of the drawing, especially “Schoolgirl” which is in a subtle gray colour range. In the portrait of “Poet Tabidze” painted by A. Bandzeladze it is hard to see any painter’s merits. This portrait can be probably assigned to the category of the poorest works on the exhibition.
The A. Wepchwadze’s portrait of Sajat Nowa, stylized with easiness, though showing undoubted painter’s merits, causes some reservation regarding the artificiality of the reproduced image.
Among G.Dzaszi’s works, it is worth distinguishing the portrait of the artist and painter Cimakuradze, while Tatiszwili’s portrait of the soloist girls is less successful.
The artist K.Sanadze achieved an interesting Rembrandtesque luminous effect in his portrait of poet Tabidze, but he had to keep Rembrandt’s principles further – and not to darken the background. The portrait of the actress N. Burmitrowa from the same author is on the lowest level compared to the rest of his works, with a faint colour range, I can even say –mild.
The academic studies of the young artist K. Macharadze bespeak of a great panter’s temper, a self-possessed drawing emphasizing on the characteristics of the people in the portrait. These merits are also found in the portrait studies of the artist I. Dzapadze.
The stiffened portrait of the actor Krawejszwili by K. Kliknadze does not belong to the very successful works, as well as the portraits painted by R. Sturnal which have a very unpleasant tone.
Widely presented on the exhibition are the stylized works of the artist W. Gudiaszwili. This old artist still sticks to the national eastern art tradition of the region.
Landscape art works are very richly represented on the exhibition; however there is a lack of bigger landscapes – compositions from the lovely, majestic mountainous nature. Here we mainly have fragmentary works and most of them nature studies, more or less successful.
The works of the landscape school founder A. Cimakuradze deserve a special distinction. His works, although just studies, they clearly testify that the artist has achieved self-possession of the landscape art.
Among the landscapes of the artist B. Gorgadze the big panting of “Rustawi” is less successful, with an inconsistent and overburdened composition without a marked centre, though evidently there can be recognized sea motifs with a light airy key.
The artist E. Achwiegiani showed an uncommon painter’s temper in the landscape “View from Cchra-Skara” by treating the trees in the first plan, however he did not manage to reproduce the air expanse, therefore the mountains on the second plan crushed the first plan.
Worth distinguishing there will be N. Palawandiszwili’s landscapes, performed with a temperamental technique of ornamental framing in a very pleasant clear colour range, as well as in the works of artist B. Szuchajew easily stylized and reproducing the characterful countryside of sunny Georgia.
Certain rigidity and heaviness of the colouring can be felt in a few of the landscapes of the artist M. Chwitij, however one of them named “Before rain” is well recreated in a very subtle dusky colour range.
The artists G. Doguzow and R. Kirkaszwili aim to recreate evening moods, especially winter ones.
In the sculpture section there is a lack of composition, that is why it is hard to estimate the abilities and the achievements of the Georgian sculptors. Out of a whole line of picturesque busts, J.Nikoladze’s “Portrait of the poet and thinker Czachruchadze” and W. Topuridze’s “Portrait of sculptor Kondelak” /in marble/ stand out, also the very expressive “Lenin’s head” /in bronze/.
They are successfully followed by P. Mzareulaszwili, K. Merubiszwili and B. Alawiszwili who show a perfect self-possession of the plastic shape.
Regretfully, the bust made under G. Kordzachij’s chisel does not resemble poet Majakowski.
The graphics section, and particularly the theatrical-decorative decorative section are represented extremely interestingly. Most of the works from this period have preserved the Old-Georgian style
Translated from: Polish
Library reference card: