Giorgi (Gigo) Gabashvili (1862-1936) was one of the founders of the Georgian academic school and easel painting. Deeply influenced by the traditions of Russian Realism, his artistic vision closely aligned with the ideals of the Peredvizhniki (the Wanderers), a connection clearly reflected in his realistic works. Gabashvili was also the first artist in the history of Georgian art to create symbolist compositions.

The village Tsvirmi comprises several painted churches, among them the church of the Archangels located in the Zagar district. The single nave two -storied church is dated to the 9th c. It is one of the oldest churches in Upper Svaneti. The interior of the ground floor is covered with murals and displays a rather developed program of the painting.

Georgian primitivism is often associated with Niko Pirosmani, although his work cannot be confined to that single category. His art engages with much broader pictorial traditions, and its uniqueness extends far beyond what is usually meant by naive or primitivist painting.

The veneration of the Mother of God in Georgia spans many centuries. The perception of the Mother of God as the protector of humankind is further deepened by the belief that she is the patron saint of the Georgian land.

In 2001, an exceptionally valuable Georgian artefact, which had been considered lost since 1991, unexpectedly appeared at a Christie’s auction in Geneva. This outstanding ivory work, known as the Okoni Triptych Icon, had disappeared from the Tskhinvali Museum. At that time, Georgian jurisdiction no longer extended over the territory, and the loss was not officially reported by the museum.

The artistic and cultural life of Tiflis¹— the capital of independent Georgia between 1918 and 1921 — represents a distinctive chapter in the history of modern Georgian art. During this period, Georgian artists actively embraced emerging Western trends, successfully transplanting them into the local cultural context. As a result, a rapid evolution took place—moving from academic art, which arrived in Georgia relatively late, to modernist forms of expression.

The cult of the Cross of Golgotha, the instrument of Christ’s Passion, dates back to the time of Constantine the Great (272–337), leading to the creation of various practices, including the veneration of fragments of the Golgotha Cross and the production of their reliquaries.

The portraiture of the Georgian nobility created in Tbilisi during the first half of the nineteenth century—known as the Tiflis Portraiture School—represents a landmark phenomenon in the history of Georgian art. The finest works produced within this creative circle stand out for their individuality and exceptional artistic quality, while also conveying a pronounced sense of national identity. It is noteworthy that the emergence of the Tiflis Portraiture School coincided with the broader development of modern Georgian art and the rise of easel painting in the country.

The name Apollon as perhaps symbolic, since he went on to commit his life to art and to contribute significantly to the development of contemporary Georgian fine art. His artistic legacy has been extensively acknowledged, appreciated, and honored with several titles and honorary orders

Lev Bayakhchev was an artist of the 1960s, a generation of artists that eagerly embraced the air of freedom leaking through the cracks of the "Iron Curtain" that had descended between the Soviet Union and the rest of the world in the aftermath of the post-Stalin liberalization of the 1950s. In doing so, this generation successfully assimilated many global cultural trends.

A Soviet underground artist, Chkhartishvili produced works that captured the social and aesthetic dimensions of unofficial art. The worldview and visual language of underground artists were radically different from the conventions of socialist realism. Though, by that time, the system had begun to weaken and unravel, it still held significant ideological weight and influence.

In 2024, the Dimitri Shevardnadze National Gallery hosted the exhibition "Beyond the Homeland." The project was initiated by the Chardin Gallery, which showcased the work of four Georgian émigré artists—Mikheil Bilanishvili, Felix Varlamishvili, Vera Pagava, and Vano Enukidze. Although each artist reached Paris by a different path in the early 20th century, France ultimately became their second homeland. Their lives and creative legacies diverged in many ways, yet the exhibition once again demonstrated how significantly émigré artists contributed to the development of Georgian modernism. Notably, each artist’s work has a unique link to Georgian culture. Several of the displayed pieces were shown to the public for the first time.

It is difficult to find anyone in Georgia who is unfamiliar with Shota Rustaveli’s iconic 12th-century poem The Knight in the Panther’s Skin (Vephistkaosani). The poem recounts the exploits of the main characters, Tariel (who is the knight in the panther's skin) and Avtandil, in their quest for love.

Beno Gordeziani is regarded as one of the most prominent figures in Georgian avant-garde art. His name is most closely identified with the Dadaist-Futurist group known as 'H2SO4.' This literary-artistic association was established in 1924. In a similar way to the effect of sulfuric acid (the chemical formula of which is reflected in the group’s name), its members aspired to destroy everything old and outmoded in the creative world.

The Shaliani Icon is preserved in the most important shrine of Upper Svaneti — the Church of St. Kvirike (Lagurka). This modest, hall-type church is situated atop a mountain in the community (temi) of Kala, on the left bank of the Enguri River. Although architecturally unassuming, the church occupies a prominent place in the history of medieval Georgian art. Its interior is adorned with remarkable 12th-century frescoes attributed to the renowned royal artist Theodore. The church treasury houses exceptional examples of medieval Georgian goldsmithing, among them the Shaliani Icon, a masterpiece of Byzantine origin.

The ATINATI Foundation recently acquired an outstanding Persian painting representing the ceremonial reception of Fath-Ali Shah, the second ruler of the Qajar dynasty (1797-1834). Fath-Ali Shah is represented in the middle of the composition, clad in ceremonial robes and seated on the Peacock Throne with a gorgeous crown on his head. On either side of him, there are two rows of three noblemen and princes, also wearing crowns, or dressed in turbans and other expensive items.

Albert Dilbaryan, known as Dilbo, emerged from the generation of the 1960s. His pictorial mise-en-scènes, shaped by a melancholic yet romantic worldview, stand apart from both the dominant styles of his contemporaries and the broader post-Stalinist canon. Though he never openly opposed Soviet ideology, Dilbo remained a quiet dissenter within his own “artistic shell.” For him, depicting unrealistic or fantastical imagery became a means for escaping the constraints of a collectivistic society.

In 1960s Tbilisi, the name Elguja Amashukeli quickly became famous. It was impossible to be in the city without hearing about him, and even more impossible not to notice his public works. They became instant landmarks, and have remained as symbols of the city ever since.

Sergo Kobuladze, People's Artist of Georgia and laureate of the Shota Rustaveli Prize, was among the first generation of graduates from the Tbilisi State Academy of Arts. His creative legacy includes painting and graphic art, as well as theatrical design and photography. His contribution to scientific and research work is also significant.

Several influential figures spring to mind when considering Georgian fine art in the contemporary era, and Dimitri Eristavi is undoubtedly among them. Nearly 70 years since his first emergence on the artistic scene, we are even more aware of the significance of his painting.Dimitri Eristavi was born in Tbilisi in 1931. He dedicated his whole creative energy to the capital city, seeing it as the source of his inspiration.