By Irina Arsenishvili
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Additional info for Georgian Easel Painting
The Early Stage of Georgian Easel Painting 31 Illustration 23. G. Gabashvili. Bazaar in Samarkand. 1897. 80x160cm. Georgian National Museum. Vereshchagin’s paintings “They are Celebrating” (1871-1872) and “Madrasah Shir-dor on Registan Square in Samarkand” (1869-1870) are quite different. If Gabashvili sought to create a general characteristic image of Asian bazaar, Vereshchagin focuses his attention on the expression of a specific event – the view of the heads of the executed Russian soldiers placed on pales in the first painting, and the depiction of the architecture of the Madrasah Shir-dor in the other.
The portrait character is also beyond doubt, but the painter’s main task is to render directly the social aspect, the basis of the artistic generalization of which is the particular event. In the social characterization of the image the thematic motif is given paramount importance – in the composition the central place is occupied by a large basin depicted in the foreground, which 40 Irina Arsenishvili points to the hard work of the laundress. Chiaroscuro and illumination are a significant factor of the pictorial language.
Georgian National Museum. The tonal colouring and illumination defined the emotionality of Mrevlishvili’s landscape. Attempts of the study of variability of colours en plein air are observable in it. If in Polenov’s painting harmony, character of calm life is felt, in Mrevlishvili’s work excitement and emotionality, a certain romantic mood prevails. For Polenov the uniqueness of the particular image of nature is more valuable. He has a fancy for the individual image of the mirror-like surface, forms of plants and flowers.
Georgian Easel Painting by Irina Arsenishvili