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This is Lado Gudiashvili

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By Gwylym Owen

Lado Gudiashvili (Georgian: ლადო გუდიაჹვილი; 30 March 1896 – 20 July 1980) was a prominent Georgian artiste of the 20th century. Gudiashvili was born into a relations of a railroad employee. He studied in the Tbilisi educational of sculpture and fine art (1910–1914), where he met the Armenian performer Alexander Bazhbeuk-Melikyan, and later in Ronson’s private academy in Paris (1919–1926). For a while, Gudiashvili belonged to a help of Georgian poets called “The Blue Horns” (1914–1918), who were grating to be neighboring to organically the Georgian national flavour following the creative structure of French symbolism. In Paris, he was a constant customer of the famous “La Ruche,” a colony of painters where he met Ignacio Zuloaga, Amedeo Modigliani, Natalia Goncharova, and Mikhail Larionov. Gudiashvili’s ham it up was greatly influenced by Niko Pirosmanashvili.

Filled in the space of the pull of Georgian life, the painter’s early works improve dramatic grotesque similar to the appeal of poetic mystery (Live Fish, 1920, Art Museum of Georgia). Closeness to the traditions of dated Caucasian and Persian art was amplified upon his compensation to Georgia in 1926. Gudiashvili’s colours become warmer, and the keenness of the world as a theater grew stronger (many of Gudiashvili’s paintings were either inspired by operas and balles or help to depict actresses in costumes). Like his compatriots (Grigol Robakidze, Konstantine Gamsakhurdia), Gudiashvili freely used mythological allegories (The Walk of Seraphita, 1940), the center of which was a graciously beautiful girl imagined as the mysterious “Goddess of the Earth.”

Gudiashvili plus worked as a monumentalist, painting once more the Kashveti Church in Tbilisi in 1946, for which he was expelled from the Communist Party and fired up from the Tbilisi academy of fine arts, where he had been teaching back 1926.

In the voluminous “antifascist cycle” of Indian ink drawings Gudiashvili became a nice of “Georgian Goya”: beast-like monsters surrounded the ruins of art and naked “goddesses” conveyed the ideas of the death of culture.

Gudiashvili worked also as a stamp album illustrator, set and theater decorator. He died on 20 July 1980 in Tbilisi.

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