Modernistic Interpretations with Socrealistical Names on the Example of Lado Gudiashvili’s Work

Abstract

The article refers to the work of the famous Georgian artist Lado Gudiashvili during the turning period of the late 20s, when the individual handwriting of the artist, well-known in the modernist artistic circles of Paris, changed dramatically after he arrived in Soviet Georgia. In 1929-1930, using irony and grotesque, he created works with Socrealistic names where allegorical compositions reflect a harsh, violent environment. This can be seen on the panel “Industry” painted on the wall of the lobby of the Marjanishvili Theatre, which was repainted shortly after its creation and remains covered to this day.