Zurab tsereteli biography for kids

No matter how large the work is, no matter how high its tower is, the foundation and first floors are strong, it must remain in the time in which it is created. No other is given, and therefore art is eternal. Its forms, the thoughts that it carries, are only an expression of the being of time, its inalienable features. Subsequently, the images of the works of each era will constitute the cultural heritage of society, but first they will turn into a symbol of their time, influencing the consciousness of contemporaries, preserving and replenishing their historical memory.

The monumental art of Zurab Tsereteli is no exception. The master creates memorials and monuments, sculptural groups and compositions dedicated to the victims of the tragic events of our time - wars, terrorism, outstanding contemporaries - figures of art, culture and science, historical figures and facts that are of the greatest interest to our time.

After all, historical memory is not the history of mankind that has gone forever into the past, events and people that have not disappeared into non-existence, but something that is constantly present and acts in our life, on a subconscious level. From this point of view, his sculptural work can be divided into two parts - portrait sculpture and works born of eternal themes for humanity.

This study is devoted to portrait images created by Tsereteli, which can be thematically combined according to the following positions: history of Russian statehood, images of saints and the gallery "My Contemporaries". At the heart of their common foundation are questions of morality and morality. The portrait images created by the sculptor are united by the increased attention of society to the destinies and characters of specific individuals.

The sculptural series of works by Zurab Tsereteli, dedicated to the history of Russia in the person of its rulers of the 9thth centuries, has a special place. The series is made in the form of bronze busts and portrait statues. The culminating point of the artist's close attention to the history of Georgia and Russia - his two native sides, as mentioned earlier, almost coincided with an incredible surge of interest in national history.

Since the s, he has been gradually creating first the plastic suite "Rulers of Russia" in the form of german busts, and then full-scale portrait images and sculptural compositions dedicated to representatives of the Romanov dynasty, whose th anniversary was celebrated in For almost thirty years I have been making the sculptural series "Rulers of Russia" and "History of Georgia".

And now I'm done. It is not so easy. This is the professional cry that I experienced Today we see how the spirit of our era was reflected in these plastic chronicles, how they sounded a topic that has been seriously worrying society all these years - the return of the historical memory of the nation, the return to its origins. The composition consists of two bronze figures: the young emperor and his mother, placed on high round podiums.

Little Peter runs recklessly along the cobbled pavement with a sword in his hand, half-turned looking back at Tsarina Natalya, nee Naryshkina, marching behind him. The son, as if persistently calling her after him, urging her to join him. The emperor is depicted as a boy, but his whole figure expresses an unbridled desire to move forward.

His energetic run is conveyed so vividly that it seems that the hero may stumble from the podium on which his figure is installed. The pressure and energy in Peter's movement is emphasized by the sharp contrast between the dynamics of his figure and the static figure of his mother. Her image is likened to the image of Russia at the end of the 17th century - a huge clumsy empire, which Peter will be destined to lead.

Tsereteli interprets the figure of Natalia Naryshkina as a fairy-tale noblewoman, absolutely closed from prying eyes. The statue of the queen looks like a silent work of art, indifferent to what is happening around. You can hardly move in such clothes, and it stands like a frozen cocoon of a strange butterfly. You just need to wake her up, shake her up so that she shows herself in all her glory.

In fact, the sculptor created an allegory of patriarchal Russia - beautiful, rich, incomprehensible to the neighbors, frozen in a drowsy hibernation. It won't be long before Peter wakes her up. Deep comprehension of historical events helped the author to achieve a high artistic generalization of the image. All the details of the sculptural composition "Childhood of Peter" are carefully worked out.

The expressive appearance of the future emperor, facial zurab tsereteli biographies for kids, gestures, costume details, as well as the amazing image of his mother, personifying the homeland of the future reformer, are modeled. Speaking about the sculptural series "Rulers of Russia", one cannot fail to mention the monument "The Holy Equal-to-the-Apostles Grand Duchess Olga, patroness of Pskov" - one of the three monuments on the theme of Russian statehood, installed in Russia in a real urban environment.

The monument was erected in for the th anniversary of Pskov. The name of Grand Duchess Olga, who is revered in Pskov as its founder, is associated with the first mention of the city in the annals in Due to circumstances, having risen at the head of a huge, still emerging state, the princess went down in history as the great creator of the state life and culture of Kievan Rus.

It was Olga who had the honor to make a choice that determined the subsequent fate of Russia - she was the first of the Rurik dynasty to accept Christianity. Subsequently, the Grand Duchess was canonized by the Russian Orthodox Church as a saint as equal to the apostles. The monument is characterized by conciseness and restraint. In the plastic solution of the image, the holy sculptor expressed the majestic image of a woman with an unbending will and high self-esteem, invincible courage and a truly state mind, imprinted in the national memory.

The figure is solved strictly and monumentally. While retaining real features, the image of Olga is emphatically conditional - she stands, holding a sword in one hand, and leans on a shield with the other. Mikeshin in Veliky Novgorod. Mikeshin's monument was intended to "evangelize the descendants of the heroic past of Russia" over the past millennium.

In our case, the sculptor limited himself to images of the rulers of the country, demonstrating his desire to acquaint his contemporaries with those whose deeds and destinies in different historical eras were not always evaluated objectively, sometimes hushed up or distorted, but decided the fate of the motherland. Only in this way will art bring up citizenship and high spirituality.

A similar approach to creativity is also characteristic of Zurab Tsereteli. As if echoing the aesthetics of classicism, the master creates works imbued with a high moral ideal that improves a person, educates him in civil virtues, devotion to his homeland. After all, in the end, the main task of the artist is to see what others could not see, and to tell about it so that others would pay attention to it.

From this point of view, two monuments by Zurab Tsereteli, erected in the village of Borisoglebsk, Yaroslavl Region, are of interest. We are talking about the monuments to two monks of the Borisoglebsk Monastery - St. Alexander Peresvet and St. Irinarch the Recluse. The first monument, erected inwas created by the sculptor in honor of the th anniversary of the Battle of Kulikovo.

Alexander Peresvet is a legendary warrior monk who received the blessing of St. Sergius of Radonezh himself to participate in the Battle of Kulikovo together zurab tsereteli biography for kids the soldiers of Demetrius Donskoy and fell in single combat with the Tatar hero Chelubey. The Russian Orthodox Church canonized the monk Peresvet as a saint.

The second monument, erected a year later, inis dedicated to Irinarkh the Recluse, a monk of the Borisoglebsky Monastery, who blessed citizen K. Minin and Prince D. Pozharsky to lead the people's militia for the liberation of Moscow in In Borisoglebsk, the name of St. Irinarch has been revered for a long time. At the age of 30, he took monastic vows at the Borisoglebsk monastery, and the relics of the saint later rested here.

These two monuments can be called paired. As strange as it may seem for the creative method of Zurab Tsereteli, in this case the sculptures are united by the similarity of the plastic solution - the figures of saints in monastic attire are given in full growth, frontally to the viewer. Alexander Peresvet holds a spear in one hand, and a cross in the other, as if conveying the blessing of St.

Sergius of Radonezh to the living, for whom he himself laid down his head on the battlefield. Saint Irinarch is depicted with a covered head - a distinctive element of the attire of a hermit monk, his right hand is raised for blessing. Each monument has a height of 3. In the plastic interpretation of the images of the saints, the author's predilection for the play of chiaroscuro created by deep folds of clothing, which enlivens the poses of the figures, giving them dynamics, was manifested.

But the main thing that unites these monuments is the idea. Both of them are dedicated to two important events in Russian history for the preservation of Russian statehood - the battle with the Tatar-Mongol army of Mamai in on the Kulikovo field and the liberation of Moscow from the Polish-Lithuanian invaders by the forces of the people's militia in In any case, thanks to such monuments, we at least remember the history of our country.

The preservation of historical memory is only one side of the tireless activity of the "silent preacher", in the words of Metropolitan Filaret Drozdov. The second, no less important, is a conversation with the viewer about the heights of the human spirit through the images of ascetics, whose distinctive characteristics are high moral qualities, civic prowess, true, and not leavened patriotism.

In the modern era of the absence of authorities, those who are commonly called the "conscience of the nation", the images of the saints turned out to be almost the only role models that are not subject to devaluation. Therefore, the images of those who have long been called ascetics naturally and logically entered the work of Tsereteli.

Two monuments to one of the most revered saints in Russia - St. Nicholas the Wonderworker, the work of the sculptor, were installed in the Italian city of Bari,and in the village of Haapsala, Vyborgsky District, A monument to the holy prince Oleg Ryazan was built in Ryazan, In the summer ofin the Greek city of Veria, where the Apostle Paul preached, a monument to the saint was unveiled.

The sculpture, representing the figure of the apostle, thinned by labors and fasts, with bare feet, but with the gaze of a convinced righteous man, pressing the Holy Scripture with both hands to his chest, does not leave anyone indifferent. The contrast between the inspired face of a person who is confident in the grace-filled power of the teaching he preaches, and a frail barefoot body dressed in a loose chiton creates an emotional tension that makes the viewer stop.

Deliberate simplicity in interpreting the image of one of the greatest missionaries of Christianity only brings the viewer closer to him. Attention is drawn to the Eternal Book, pressed to the chest. In the images of the saints, the sculptor sees examples of spiritual greatness and, feeling the demand of the time, tells the viewer about them. At the same time, the author's imagination, knowledge, as far as possible, of the life stories of saints allowed him to create the illusion of a close acquaintance with the characters depicted.

One of the recent works of the sculptor, in which he refers to the image of saints, is the monument to Pope John Paul II, which was opened in Paris in October Our contemporary, repeatedly glorified by his deeds of kindness and charity, his incredible modesty, peace initiatives, Pope John Paul II was canonized by the Catholic Church. Strange as it may seem, the author of the first monument to Pope John Paul II in France was not a Catholic, but an Orthodox one: the monument by Tsereteli was opened in Ploermel in The figure rises on a granite base, the total height of the monument is 3.

Not a single monument has ever been erected in this sacred place for the French. This is a great honor for me. The monument was given as a gift from the Russian people, as evidenced by the inscription on the base of the monument. The concepts of morality, duty, dignity occupy a special, honorable place in the system of Zurab Tsereteli's worldview.

And this feature is one of those that allow us to speak not only about the historicism of the artist's thinking, but about monumental historicism.

Zurab tsereteli biography for kids

They were the first teachers was fond of the fine arts boys. Zurab Tsereteli graduated from the painting Department of the Tbilisi Academy of arts, he worked at the Institute of history, archaeology and Ethnography of the Georgian Academy of Sciences. Instudied in Paris, where he associated with prominent artists Pablo Picasso and Marc Chagall.

Since late ies started to work actively in the field of monumental art. Find out more about what data we collect and use at here. Nothing found. Guelman, Tsereteli "cheated" during the installation of the monument, forging the documents of the town planning council, limiting the height of the monument to 17 meters. There is a version that this monument is a reworked and modified statue of Columbus, which Tsereteli unsuccessfully offered to buy the USA, Spain and Latin America inon the occasion of the th anniversary of the discovery of the American continent by Europeans.

Cathedral of Christ the Savior was built under the leadership of Tsereteli. Instead of the original white stone cladding, the building received a marble one, and the gilded roof was replaced with a titanium nitride-based coating. Large sculptural medallions on the facade of the temple were made of polymer material. An underground parking lot was placed under the temple.

Among the most famous monumental works of Tsereteli, it is worth highlighting: the monument "Friendship Forever" in honor of the bicentennial of Georgia's accession to Russia, immediately after installation received an ironic nickname among Muscovites - "Shashlyk" Tishinskaya Square in Moscow, the author of the architectural part is a well-known poet Andrei Voznesensky ; Monument "Good Defeats Evil" in front of the UN building in New York; monument "To destroy the wall of mistrust" London, Great Britain ; 6-meter Monument to Peter the Great in St.

Author of monumental and decorative works panels, mosaics, stained-glass windows, decorative and play sculptures in the resort complex in Pitsundain the resort town of the All-Union Central Council of Trade Unions in Adler Sochi ; Lenin Prizein the hotel complex "Yalta- Intourist "in Yaltain the hotel complex" Izmailovo "in Moscow Tsereteli participated in the construction of the memorial complex on Poklonnaya Gora in Moscow opened inas well as in a number of other architectural and monumental projects in Moscow at the end of the 20th century, including the design of Manezhnaya Square.

Zurab Tsereteli created a number of monuments to figures of the past and lifetime sculptural portraits of his contemporaries, many of which were donated by Tsereteli to various cities in the Russian Federation and abroad. Not all are really erected. The monument is a meter bronze slab with a narrow elongated through hole, resembling a rift, inside which hangs a giant mirror drop, cast from the debris of the steel beams of the twin towers melted during the terrorist attack.

Initially, the author was going to present it to New York. But the city authorities did not want to see him at home. Then Tsereteli attempted to erect a monument on the other side of the Hudson - opposite the site of the tragedy - in Jersey City. But even here, the municipality refused the gift, saying that most residents do not want to see this tear, and in the local press, the future masterpiece was dubbed "vulva".

Nevertheless, Tsereteli managed to find Bayonne for his monument - a place at the mouth of the Hudson River, on an abandoned pier of a former military base, where signs still adorn: "Caution, contaminated place! InTsereteli planned to install a meter statue of Jesus Christ on Solovki, which caused reasoned objections from the leadership of the Solovetsky Museum-Reserve.

Inin the French resort town of Saint-Gilles-Croix-de-Vie, Tsereteli opened a sculptural composition dedicated to. The monument is part of the diptych - the other part of which is the monument. This monument is erected in Muchkap - the regional center of the Tambov region. Ina monument to Stalin, Roosevelt and Churchill was opened in Yalta, based on the Yalta conference.

Inin Moscow, in Petroverigsky lane, Tsereteli made the Alley of rulers, consisting of busts of all the rulers of Russia. Tsereteli became the first Georgian and Russian artist to receive such an award. On March 11,the signature of Zurab Tsereteli appeared under an appeal by cultural figures of the Russian Federation in support of the policy of the President of the Russian Federation V.

Putin in Ukraine and Crimea. The next day, however, Tsereteli's aide said in an interview with Georgian television that Tsereteli had not actually signed the letter. Grandchildren: Vasily bornZurab bornVictoria born Tsereteli Sr. For excellent service he was awarded orders, medals and gratitude. But due to his injury, he was transferred to the reserve with the zurab tsereteli biography for kids of colonel.

Tsereteli Konstantin Ivanovich after the war took part in the restoration of destroyed objects. At the same time, he taught at the Polytechnic Institute in Tbilisi. Zurab's mother - Nizharadze Tamara Semyonovna came from a princely family. She devoted her whole life to raising her children, as is customary in the Caucasus. Zurab grew up in an environment of artistic creativity.

His uncle, his mother's brother, Georgy Nizharadze, was a famous painter, who constantly took his nephew to his house. Communication with such a contingent of people did not pass without a trace for Zurab Tsereteli. In the classroom at school, young Zurab drew a lot. In many of his works, even then a sense of belonging to history, to the life of the country arose.

Often during the summer holidays Tsereteli went to Western Georgia to visit his grandmother, she lived in the village of Gubi. Here the future artist saw folk culture, the beauty of household items, the diversity of nature. Only in Gubi did Zurab feel free without the bustle of the city. He was amazed by the variety of colors that could not be seen in Tbilisi.

All this formed the foundation of creativity for the artist. In his free time, Zurab Tsereteli visited museums, where he studied the presented zurab tsereteli biographies for kids. He wandered around a lot, learned new things, rode horses a lot, walked. Tsereteli, in order to get to know nature better, listened to the murmur of mountain rivers, remembered the smell of the earth.

All this played an important role in the formation of Zurab Konstantinovich as an artist. Inthe artist graduated from the Academy of Arts. His graduation work was "Song of Tbilisi". But she was not admitted to the defense because of the "elements of convention. The work was highly appreciated. In the 60s, Zurab Tsereteli quickly took positions in Soviet art.

Once the architect Shota Kalandarishvili gave the task to Zurab to paint a children's cinema in Tbilisi. The artist felt a child's fantasy, where there are fairy tales, inventions, but the painting was not done in kind. Zurab was interested in architects who worked on the creation of a large resort complex in Pitsunda. It was Tsereteli who was invited as the main artist of this unique object.

In this work, he appeared as a monumental artist. The architectural part of the monument was designed by Andrey Voznesensky. In the same period, Tsereteli began work on two large-scale projects in Tbilisi : the monument to Saint Ninaand the History of Georgia complex —present. George slaying the dragon as an allegory for world peace in the modern age, was unveiled at the United Nations Headquarters.

In the s, Tsereteli continued to work on public commissions for the city of Moscowwhich many insist was due to his personal friendship with mayor Yuri Luzhkov. The most significant of these projects include: the reconstruction of Cathedral of Christ the Savior, Manege Square, the War Memorial Complex on Poklonnaya Gora, the Moscow Zooas well as the 98m tall Peter the Greatmonument erected in —97, which has caused mixed feelings among the citizens of Moscow.

The following year, inMarbella also received a sculpture, entitled Victory. He established the Moscow Museum of Modern Art inand it officially opened its doors inbecoming the first state museum in the country entirely dedicated to modern and contemporary art. InTsereteli had his first solo exhibition at the New Manege, which was dedicated to the memory of his wife, Inessa.

This show became the starting point of the numerous travelling shows of his works, which followed in the ss in RussiaGeorgiaLatviaBelarusKazakhstanBulgariaItalyFrancethe United StatesAustraliaChinaand Japan.