The role of the distinguished historian and public figure Ivane Javakhishvili in the development of almost all fields of the humanities is especially remarkable. His work marked the beginning of a new era in Georgia—not only in the development of historical studies, but also in many related fields.

Sergo Chakhoiants belonged to the generation of artists of the 1950s, though it wasn’t until the 2000s that he gained recognition. His son, Alexander Chakhoiants, shared that the artist's lifelong dream was to hold a personal exhibition, a goal that remained unfulfilled. Sergo was deeply committed to his painting, spending more time in his studio than at home. His wife, an art critic, believed in his talent, and when Sergo was working, she often told their children not to disturb him. He never thought of his artistic subjectivism or distinctive style as exceptional, and often justified it to his family that he could not paint in any other way.

Bediani is a small town in Tsalka Municipality, located in the historic province of Trialeti. It was established in 1954 in connection with the construction of the Khrami Hydroelectric Power Station. The medieval Monastery of the Mother of God is situated on the edge of the town, on a wooded hillside. Prior to the founding of the town, the area around the monastery was uninhabited for many years. The historic name of the site is Vardisubani.

Paris, autumn 1959. The Galerie Charpentier is getting ready for its traditional exhibition of artists - graduates from the Paris School. But then Raymond Naceta the gallery's director, decides to launch an unusual experiment: in order to objectively describe the current art scene in Paris, he contacts five authorized art experts with diverse creative interests and asks them to exhibit seven artists with their most recent three pieces.

In the nineteenth-century, Kutaisi was the second-largest city of Georgia and a center of governance within the Russian Empire. By the end of the century, the construction of administrative and public buildings in the city had significantly increased. Among these new buildings was the District Court, built between 1898 and 1900. Located at the end of present-day Newport Street, near the bank of the Rioni River, the court building plays a prominent role in the city’s urban landscape. Today, it houses the Kutaisi Court of Appeals.

Petre Otskheli's sketches not only speak of his broad imagination, technical virtuosity and deep thinking as an artist, but also refer in general to Georgian theater and cinema of the 1920s and 1930s, as well as universal contemporary avant-garde art.

Skhalta Church, dedicated to the Nativity of the Mother of God, is located in Achara[U1] , on the right bank of the Skhaltistsqali River, approximately 80 km east of Batumi. It is the only well-preserved Medieval church in the historic province of Achara, a region that became heavily Islamized following its conquest by the Ottoman Empire in the mid-sixteenth century.

Nikoloz Kandelaki is one of the most outstanding representatives of modern Georgian art, and the development of realistic sculpture in Georgia is associated with both he and Iakob Nikoladze. In addition to his creative genius, Kandelaki was a brilliant educator. He founded the Kandelaki School, where numerous gifted Georgian sculptors honed their craft. His impact on Georgian sculpture was deep and enduring. Born in the village of Kulashi in 1889, Kandelaki attended school in Kutaisi, moving on to pursue his studies at the Leningrad (St.Petersburg) Psycho-Neurological Institute. His medical education provoked his interest in the structure of plants and the human body.

In the history of Georgian repoussé art, the 17th century represents a significant period, marked by the establishment of a goldsmith's workshop amid the challenges and upheavals of the era. The workshop, founded by the prominent Prince of Odishi (Samegrelo), Levan Dadiani, a distinguished figure of the time, has garnered considerable interest. To what extent did the strained family relations within the Dadiani family affect the works produced in this workshop? It is worth recalling how he treated his first wife, the daughter of Sharvashidze. Without apparent reason, he accused her of betrayal, having fallen in love with Nestan-Darejani, the beautiful wife of his uncle, Giorgi Lipartiani. Subsequently, he abducted his aunt and married her.

Skuri Church of the Transfiguration is located in the Samegrelo province, nestled in a picturesque gorge 15 km northeast of Tsalenjikha. It stands in a small field surrounded by wooded mountains, harmonizing beautifully with its natural setting. The exact construction date of the church is unknown, but its architectural features suggest it was built in the late thirteenth century.

One of the most prominent representatives of abstract art, Wassily Kandinsky, said “The more frightening the world becomes…the more art becomes abstract.” In Europe of the 1910-20s, abstract or objectless art served as a “preface” to the First and Second World Wars, while in America of the 1940-50s, it was a post-traumatic condition caused by WWII, which also played a transitional role in postmodernism. In Georgia, abstraction emerged as a post-traumatic response to Stalinist art and as a “prophetic” expression of the country’s independence, against the backdrop of the civil war.

In medieval Georgia have been developed a number of local icon-painting styles, among which must be singled out so called Svaneti “school of icon-painting”. Although we don’t have documented evidence about these workshops, the extent material allows us to attribute to Svaneti, north-western highland region of Georgia, an impressive number of painted icons. Numerous icons preserved in the Saveneti Museum and in the local churches demonstrate stylistic and technical features which differ from the Pro-Byzantine stream of medieval Georgian religious painting. The icons produced in the workshops of Svaneti are in majority dating back to the 13th-15th cc. Most of the icons are not in their original place, but their subject, size and shape make us suppose that they were created for different purposes: for chancel barriers, burial places and for private devotion as well.

There are numerous statues by the sculptor Merab Berdzenishvili (1929–2016), both in Georgia and outside of it. Each of them, when considered separately, exhibits different aspects of the sculptor's individual handwriting, represents all of the indications of the time and era, and reveals the multitude of artistic trends, innovations, and changes that existed in the Georgian artistic space of the 20th century.

Zegani Monastery, nestled in a picturesque, dense forest near the village of Zegani in the Gurjaani Municipality of Kakheti, was established in the late sixth or early seventh century. Among its oldest buildings are the main church, dedicated to the Mother of God, and the Chapel of St Marina.

Catholics from Western Europe settled in Tbilisi in the 1230s. In 1240, Dominican monks founded a monastery in the capital. In 1328, by decree of Pope John XXII, the Episcopal Diocese of Tbilisi was established and the St John the Baptist Cathedral was erected. In the fifteenth century, the bishopric and the monastery were both abolished. From the 1630s, Catholic missionaries again arrived in Tbilisi, firstly from the Theatine Order and later the Capuchin Order. In the eighteenth century, the Capuchins had their mission with the Church of the Annunciation in Kvemo Kala district, on what is now Abesadze (formerly Catholics’) Street. In 1755, King Teimuraz II expropriated the church from the Catholics and bestowed it on the Orthodox Church. In Soviet times, the church building was redeveloped into an apartment building (13 Abesadze Street).