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©
David Nestorovich Kakabadze
David Nestorovich Kakabadze

Untitled

1920
Oil on Cardboard.
52 x 61.5 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1983.34
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
Still, it was not until his temporary emigration to Paris in 1920 that Kakabadze developed a distinctive and original style of painting, for until that moment his landscapes and portraits had been highly structured and controlled exercises in a late pointillisme that had little in common with the more radical conclusions of his St. Petersburg and Moscow colleagues. Beginning in 1920, however, Kakabadze pursued a more experimental path that brought him to his planar experiments in Synthetic Cubism and Purism in which the intellectual problems of pictorial construction, spatial definition, and compositional arrangement were of central importance to the artist. He wrote in one of his theoretical tracts: "In a painting each part, each plane, each line and each colour should occupy its own place and no part of the painting should be superfluous [so that] if the question-what's that for?-is asked, the response should derive naturally from the constituent parts of the painting."

In the 1920s Kakabadze painted a number of compositions such as this untitled piece, especially within the cycle called Paris (1920), many of which are still in the family collection in Tbilisi. In particular, the work in question bears a close resemblance to the 1920 Landscape, sharing the same bridge composition, leaning buildings, and billboards as well as basic colours of cream, brown and grey-green. True, Kakabadze interchanged his commercial references (Dubonnet, Cinéma, Petit), but his fascination with the new architecture and streets of Paris remained an integral part of this cycle. As in other Parisian scenes in this cycle, Kakabadze emphasises a flat, two-dimensional pattern through a strict arrangement of irregular planes. These carry geometrical ornaments that are reminiscent of wallpaper or a tapestry and this concern with the surface combined with the restrained monochrome of browns and greys brings to mind the concurrent researches of the French Purists.

Kakabadze explored his ideas in a variety of disciplines, figurative and non-figurative, including abstract reliefs and sculptures as well as paintings. Acquainted with many artists in Paris, including Gris, Matisse, Ozenfant and Picasso, Kakabadze retained his artistic identity and applied his energies to many different activities, even inventing and patenting a stereo-cinematographic apparatus. Not surprisingly, however, Kakabadze returned to a more realist style after his homecoming to Soviet Georgia in 1927, thereafter concentrating on industrial landscapes and scenes of Georgian architecture.

John E. Bowlt y Nicoletta Misler

20th CenturyPaintingOilCardboard
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Untitled. Sin título, 1920
Untitled
David Nestorovich Kakabadze

©

David Nestorovich Kakabadze

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Untitled. Sin título, 1920
Untitled
David Nestorovich Kakabadze

©

David Nestorovich Kakabadze

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