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.
The specialists included Claude Roger Marx, Georges Besson, Jacques Lassaigne, Jean Bouret, and Michel Seuphor. Nascenta's project gained widespread coverage in the Paris press. The selection was innately diverse, and featured well-known artists like Masson, Vasarely, Marchand, and Pignon. New names were also heard. One of them was the artist presented by Jacques Lassen, VANO- the moniker Ivane Enukidze, a Georgian emigrant artist, went by.
Vano Enukidze (1907-1979). Passion. Plywood, oil. 59x98. 1950s. Collection of George Bagrationi
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Vano Enukidze (1907-1979). La Santa Maria. Canvas, oil. 62x91. 1958. This work is part of ATINATI Private Collection
Born in Kutaisi in 1907, Vano Enukidze attended the Faculty of Law at Tbilisi University. During his student years, he collaborated with an illegal organization – the National Student Front for the Independence of Georgia. In 1929, at the age of 23, he escaped the Soviet authorities illegally over the Georgian-Turkish border, and within a few months reached France, where he stayed for the rest of his life. Upon arriving in Paris, Vano befriended the Georgian emigrant family, the Pagavas. The Pagavas, along with their daughter Vera, had relocated to Paris seven years prior and settled in Montrouge, a suburb of the city.
Vano Enukidze (1907-1979)
Vera Pagava, who later became a famous artist, lived and worked all her life in a little cottage in Montrouge, Cité Rondelle. The Pagavas gave Vano a room on the first floor of their house. Vera and Vano were of the same age. Young Vera's enthusiasm in painting was immediately apparent. She studied at the Ranson Academy, in Roger Bissier's class, with prominent Paris School painters such as Roger Hilton, Maria Helena Vieira de Silva, Jean Bertholle, and Alfred Manessier.
Vano Enukidze with Vera Pagava
This environment inherently integrated Vano into the Parisian creative scene. In 1937, he attempted to establish himself as an artist by enrolling in the Ranson Academy himself. At that time, it may have been a hobby or a process of personal exploration, a means of personal discovery, as Vano aimed to continue his studies in law. And so it happened. From 1946 to 1948, Vano studied at the University of Paris. He was admitted to the university in 1938, but for some reason enrolled much later, in 1946.
Professors at the university characterized him as a researcher of exceptional intelligence. The subject of his diploma work was regarded as a new word in jurisprudence. It was at this time, upon the successful completion of his academic degree, that he developed a profound interest in painting. What prompted this remains unknown, although it is certain that it proved to be a fortunate choice.
The 50-year-old Georgian immigrant, possessing a doctorate degree in law, went on to attain fame as an artist in the post-war Parisian art scene, a scene which proved to be both diverse and international. The term "successful" may resonate strongly; nonetheless, throughout the brief span of two decades, Vano's creations consistently attracted both admirers and purchasers. The earliest canvases in Vano's creative work originate from 1956-58. From the outset, he selected abstraction as the only language of his art. The initial abstractions are such flawless works that one may genuinely discuss the artist's proficiency, distinctive style, and innovative approach to lyrical abstraction.
Vano Enukidze (1907-1979). Absctract Composition. Canvas, oil. 23x55. 1957
Vano Enukidze (1907-1979). Absctract Composition. Canvas, oil. 40x70. 1957
Critics wrote about him: “Vano, an exceptional calligrapher, offers us intriguing compositions…”
“Vano is captivated by rhythmic variations of forms that guide us to the unseen and the subconscious.” (1)
“Vano, who is originally from Georgia... Established in Paris since 1930... In 1955, he gave up his career in law to pursue his early passion for painting.
“His canvases remind us of encrypted writing.” (2)
“He dedicated himself to painting at the age of 50. His art is surprisingly musical.” (3)
“Vano has the enigmatic ability to articulate plastic language. Space, colorful spots, flatness, emptiness.... These constitute the canvases of an artist who reveals the most sacred aspects of the subconscious.” (4)
“Vano, an exceptional calligrapher, crafted evocative compositions with dots and fragmented outlines. His works beckon us into nebulous or hazy realms; the painted surface vibrates like a fragmented sky.... (5)
The 1959 exhibition at the Charpentier Gallery was followed by exhibitions in other prominent galleries in Paris and beyond. In 1960, a solo exhibition was held at the Craven Gallery. He then showcased his work at the New Realists Salon ‘Surindependants,’ and received invitations to Spain, Germany, Switzerland and other countries.
Vano Enukidze (1907-1979). Absctract Composition. Canvas, oil. 70x40. 1957. Private Collection
Vano Enukidze (1907-1979). Helios 2. Canvas, oil. 130x55. 1960. Private Collection
A number of significant papers about state purchases of his artworks have been preserved:
- In 1961, the state expressed interest in acquiring a canvas by Vano displayed at the Craven Gallery (‘Gray Composition,’ price - 1250 francs);
- In 1973, the state procured a piece created in 1965 (‘Meditation,’ price - 8000 francs);
- In 1981, the Ministry of Culture acquired Vano's 1957 artwork for the National Fund for Modern Art (‘ressac,’ price - 12,000 francs). This artwork is presently housed in the Paris Museum of Modern Art (Musée d’Art Moderne de la Ville de Paris).
It is significant that one of Vano's artworks is housed in the collection of the renowned Belgian collector and patron Fernand Graindorge (1903-1985). The piece, named ‘Uranus,’ was created by Vano in 1960.
Vano Enukidze (1907-1979). Snow and Stars. Canvas, oil. 72x91. 1960
Vano’s association with the Pagava family was pivotal in his experience of migration. He and Vera lived their entire lives in companionship. The connection between these two artists, characterized by the convergence of their creative ideas and general values, is unmistakable.
The artist's archive includes a document authored by Vano Enukidze himself (6 printed pages) that narrates the complete history of Georgia from the pre-Christian era. The text is composed for a specific purpose, seeing Vano urging the prominent nations in global politics to endorse Georgia's territorial integrity and assist in the restoration of its ancient borders. Vera Pagava contended that Vano's endeavors to progress in the legal profession were aimed purely at advocating for his nation. It is also said that he did not accept French citizenship deliberately, because he lived in the hope of returning to his homeland.
Vera Pagava stood by her friend to the end. She took care of Vano, who became very ill, and sought to ensure his comfort at home. Vera's notes provide insights on the last phase of Vano's life. She says that Vano's last large canvas was created in 1976, after which he moved to using pastels and colored pencils. One day, he ceased working... It was nearing the end.
Vano Enukidze was hospitalized on June 15, 1977, but was to live almost two more years. He passed away on February 21, 1979, at the age of 72, and is buried at the Georgian cemetery in Leuville.
