Overview

Natela Iankoshvili (born 1918 in Gurjaani, Georgia; died 2007 in Tbilisi) was a painter whose work stood in quiet but firm opposition to the ideological demands of Soviet art. Trained at the Tbilisi State Academy of Art, she rejected the pseudo-ethnographic, sexless depictions of female workers that dominated the era and instead painted images of motherhood, femininity and lived experience in a vibrant, deeply personal painterly language.

Her technique was physical and direct—heavy impasto, broad brushstrokes, passages of palette knife and a strong local colour that drew equally on the Georgian modernist tradition and the expressive freedom she encountered during travels to Cuba, Mexico and Italy. Those journeys produced some of her most celebrated bodies of work, including the graphic series Cuba and Svaneti, and reinforced her commitment to depicting a world that Soviet cultural life largely kept out of view. Iankoshvili was named People’s Artist of Georgia in 1976 and received the Shota Rustaveli Prize in 1995. She died in 2007, having willed her entire estate to the Natela Iankoshvili Museum in Tbilisi, founded in 2000. KORNFELD Galerie Berlin has been central to the international rediscovery of her work, presenting her first solo exhibition in Germany at the gallery in Berlin in 2012, and featuring her at Art Brussels in the Rediscovery Section (2017) and at Frieze New York in the SPOTLIGHT section (2018).

Works
  • Autumn in Gombori-100x100cm-iankoshvili-4000px
    Autumn in Gombori, 1982
  • Iankoshvili Green Cape 1972
    Green Cape, 1972
  • Opiza-85x100cm-Iankoshvily-4000px
    Opiza, 1968
Video
Biography

Natela Iankoshvili was born on 28 August 1918 in Gurjaani, in the Kakheti region of Georgia, and spent her entire life in her home country. She studied at the Tbilisi State Academy of Art from 1937 to 1943 under three of the most significant figures in Georgian modernism: Lado Gudiashvili, Davit Kakabadze and Sergo Kolubadze. From 1947 onwards she became a member of the Union of Artists and began exhibiting regularly across Georgia, the USSR and internationally.

Iankoshvili’s practice is rooted in the refusal to paint as instructed and in what becomes possible when an artist insists on her own terms across an entire lifetime. Her canvases are immediately recognisable: figures, portraits and landscapes emerging from near-black grounds with the luminous intensity of stained glass, their colour so concentrated that critics have consistently compared the effect to that of precious stones. Her brushwork carries echoes of Niko Pirosmani’s directness, the spiritual gravity of El Greco and the sensuous flatness of Paul Gauguin, yet the synthesis is entirely her own.

Her painting Black Madonna stands as one of the defining works of Georgian art—a radical assertion of female presence and spiritual authority that challenged both Soviet ideology and patriarchal convention. Travel proved equally formative: visits to Cuba, Mexico, Italy and France generated major bodies of graphic work and reinforced her commitment to depicting a world that lay beyond the narrow confines of official Soviet imagery.

KORNFELD Galerie Berlin has played a key role in bringing Natela Iankoshvili’s work to international attention, placing her practice within a broader reassessment of 20th-century women artists from Eastern Europe and the Caucasus.

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