ARTIST MONOGRAPHS

PUBLISHER
Hatje Cantz

BOOK FORMAT
Hardcover, 11.25 x 9.5 in. / 220 pgs / 130 color.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2019 p. 124   

PRODUCT DETAILS
ISBN 9783775744751 TRADE
List Price: $65.00 CDN $90.00

AVAILABILITY
In stock

EXHIBITION SCHEDULE

Vienna, Austria
Albertina Museum, 10/26/18–01/27/19

Arles, France
Fondation Vincent van Gogh, 03/01/19–10/01/19

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HATJE CANTZ

Niko Pirosmani

Edited by Bice Curiger, Klaus Albrecht Schröder, Adrian Ciprian Barsan. Text by Tadao Ando, Friedrich Teja Bach, Adrian Ciprian Barsan, Gottfried Boehm, Bice Curiger, Mariam Dvali, Régis Gayraud, David Lordkipanidze.

Niko Pirosmani

Works from the self-taught forgotten hero of the Russian avant-garde

The Georgian “naive” painter Niko Pirosmani, sometimes known as Nikala (1862–1918), is long overdue for rediscovery. Today, this autodidact, who painted his pictures of animals and people for inns and pubs, is admired as a leading representative of “naive” art, but the story of his original critical reception is remarkable. Hardly known outside of Georgia these days, his work was nevertheless displayed alongside works by Natalia Goncharova, Mikhail Larionov, Kazimir Malevich and Marc Chagall in the legendary 1913 exhibition Mischén (Target) in Moscow, where he was known as the “Rousseau of the East.”

Pirosmani devised a unique visual vocabulary—black background, elementary colors of red, blue, yellow, green and white—to create his paintings of animals and portraits of merchants, shopkeepers, workmen and noblemen. This book, published for the Albertina’s major Pirosmani retrospective, examines his paintings in the context of art history.


"Arsenal at Night" is reproduced from 'Niko Pirosmani.'

Niko Pirosmani

in stock  $65.00


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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 1/14/2019

Painting as emancipation in Niko Pirosmani

Painting as emancipation in Niko Pirosmani

"Roebuk and Landscape" (1913) is reproduced from Niko Pirosmani, Hatje Cantz's fascinating new monograph on the "vagrant autodidact," sometime railroad brakeman and dairy farmer who eked out a living painting signs for stores and taverns in Russian Georgia during the nineteenth and early twentieth centuries. "For Pirosmani, art was a wide-open field," Bice Curiger writes. "He was an outsider—a vagabond, as they say—who deliberately chose moving about as a way of life. He was a wanderer between city and countryside, between inns and stables, who at the same time resided in the center of community events. Indeed, Pirsmani located his commissioned works in society, literally in media res, in almost allegorical places that embody conviviality and open exchange, in inns, taverns, bars and stores—not in the symbolic interstice of galleries, artists' associations and museums. From earliest childhood, Pirosmani was influenced by personal blows of fate, but also by the experience of failure and the inability to integrate into a regular professional life. For him, art—painting—was emancipation." continue to blog


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