Alexandre Bandzeladze and Abstract Art

Alexandre (Shura) Bandzeladze (1927–1992)

Alexandre Bandzeladze, a Georgian artist, is closely associated with the development of abstract expressionism in Georgia. After David Kakabadze, he significantly advanced abstractionist painting in Georgia, laying the foundation for a new era in the country’s contemporary art.

Bandzeladze was born in 1927 in a small Siberian village. His family returned to Georgia and settled in Zestaponi after his father’s exile for revolutionary activities. In 1942, Bandzeladze began studying at the Tbilisi Art School, later transformed into the Tbilisi Academy of Fine Arts. However, he was expelled from the school for criticizing the regime. Years later, as an established artist, he received his diploma at the Academy’s initiative.

Bandzeladze’s oeuvre is multifaceted. In the early 1950s, he focused extensively on portraits, creating works such as the portraits of Galaktion Tabidze and Dodo Chichinadze. Book illustration was also significant to him. He has reworked numerous illustrations for The Knight in the Panther’s Skin. In 1957, he illustrated five books, including Ernest Hemingway’s The Old Man and the Sea and Folk Poems of Arsena. These works brought him international recognition: in 1966, he received a special diploma at the Brno Biennale, and in 1967, he won first place at a Leipzig competition. Religious art also held a prominent place in Bandzeladze’s work. The frescoes in the Didube Church and a church built on St. Gabriel’s initiative during the Soviet period act as notable examples.

Bandzeladze’s contribution to abstractionism was particularly remarkable. His works were largely unknown to the broader public during the Soviet era, reaching only a narrow circle of admirers. His abstract works were first showcased in 1987 at a group exhibition. Bandzeladze’s art became a source of inspiration for young artists such as Gia Edzgveradze, Ilia Zautashvili, Gela Zautashvili, Luka Lasareishvili, and others, who shared Bandzeladze’s interest in Eastern philosophy and abstraction.  In the 1980s, Bandzeladze’s works began incorporating abstract surrealist elements. These compositions, executed in dark gray tones, stood out for their precision and depth in color and form. At the same time, they maintained a Georgian identity and resisted Western influences. For Bandzeladze, color and form were the primary tools that imbued his works with profound emotionality and depth. To this day, Alexandre Bandzeladze remains one of the most significant figures in Georgian contemporary art, with works that continue to captivate audiences.

The early examples of abstractionism in Georgia emerged as early as the beginning of the 20th century. Abstract works by David Kakabadze, created during the dawn of the modernist era, can be considered authentic avant-garde. During the Soviet period, particularly in the 1980s, a new wave of abstractionism appeared, first in private and then in public spaces, during the transformation era — the works of this generation of artists combined purely abstract and figurative elements. Signs of abstraction of objects and subjects gradually became more pronounced, evolving into a formless, formal artistic language.

Abstract genres like collage and assemblage appeared episodically in the artists’ works from the 1950s and 1960s, though their integration into broader artistic spaces was limited. The creative concepts of this period were often romanticized and infused with mythological elements, while themes were predominantly rooted in socialist realist and national motifs. The main characteristics of these abstract works were their compositional balance and vibrant color palettes. As evidenced in Jibson Khundadze’s narratives, the initial layers of these works were often sketched on canvas with pencil, forming a foundation for subsequent layers and final compositions. This approach differed significantly from the artistic styles of later generations.

The abstract art of the 1970s-1990s in Georgia was a multifaceted and gradually evolving phenomenon that holds a unique place in contemporary art history. Alexandre Bandzeladze played a significant role in shaping a new generation of Georgian artists. Through his knowledge and creation of a free artistic space, he inspired young artists to explore new directions in art. Initially, some artists discovered the older generation’s inclination toward abstract art, which became a source of motivation for those who only knew Bandzeladze through his portraits and illustrations. Bandzeladze actively collaborated with young artists, sharing with them his own experience of not only aesthetic principles but also the spiritual significance of art. His mentorship laid the foundation for an unofficial school of abstract art in Georgia. Many artists participated in his secret workshops. Bandzeladze taught them to appreciate the beauty of curved lines, to adopt painterly techniques, and to perceive the canvas as both a material and a spiritual experience.

In the 1980s, young artists emerged with a strong desire to explore truth and spirituality. They studied world religions, theology, and occult subjects. During this period, contacts were also established with artistic circles in Moscow. In 1986, at the Hermitage’s new gallery, an avant-garde exhibition was held. In 1987, a broader exhibition was organized at Tbilisi’s Blue Gallery (now the National Gallery), featuring artists such as Alexandre Bandzeladze, Gia Edzgveradze, Gela Zautashvili, Ilia Zautashvili, and Luka Lasareishvili. This event signaled that abstract art had begun to secure its place alongside other genres. Art academy students like Ilia Zautashvili and Gia Edzgveradze already had their artistic-ideological visions shaped by the contemporary political context, particularly the impact of censorship, which they experienced through canceled exhibitions. They faced significant challenges in defining their identity and style. Their manifestos – Intimate Concept and Intimate Action – acted as reflections of this process. Social aspects of abstract art in Georgia have to be considered. Socioeconomic and class issues often significantly influenced artistic movements. Furthermore, local subcultures and dominant social discourse created favorable or obstructive conditions for the formation of new directions in art.