Robert Sturua (Senior, 1918–1982) left behind a remarkable creative legacy, distinguished by his contributions to both monumental and easel painting.
While studying at the Tbilisi Academy of Arts, the upcoming young artist mastered his painting skills under Valerian Sidamon-Eristavi, and developed his drawing technique with Iosif Charlemagne.
When analyzing Sturua’s artistic legacy, two defining features stand out: his distinctive approach to color, and his use of unusual perspectives. His color choices not only reflect a unique personal visual language, but also align with the broader artistic aesthetics of his time and the tendencies of his generation, an artistic milieu which included figures such as Guram Gelovani, Korneli Sanadze, and Zhani Medzmariashvili.
In his fourth year, Robert Sturua went to continue his studies at the Moscow Surikov State Art Institute, in the studio of Igor Grabar and Nikolai Chernyshov. Chernyshov had been actively involved in monumental painting since the 1920s, and had a particular passion for mosaic panels. It will come as no surprise that this experience had a great impact on Sturua, resulting in monumental painting becoming one of the most significant aspects of his creative legacy. Sturua’s interest in the Italian Renaissance appeared during his time in Moscow, and he dedicated considerable effort to studying the artistic styles of Paolo Veronese, Giovanni Battista Tiepolo, and Titian – an influence that was later reflected in the compositions he created for the plafonds of various buildings.
In 1945, Sturua began decorating the ceiling of the auditorium in the newly constructed Akaki Tsereteli Theater in Chiatura (architect: Konstantine Chkheidze; sculptural decoration by Valentin Topuridze). The artistic design of the building followed a clear and cohesive concept, with both the painted panel and the sculptural elements celebrating the then-recent victory over fascism. A narrative approach – central to Sturua’s artistic expression – is evident here, as it is in his other works of this kind. In the ceiling composition, the artist frames the central scene with a painted cornice that seamlessly blends into the sculpted architectural molding, creating an organic, illusionistic harmony between the painting and the structure. Of particular interest is the space of artistic interaction established between the audience and the figures depicted on the ceiling: Sturua’s main objective was to create the illusion of the ceiling disappearing, and to introduce an additional register in the auditorium, filled with realistically rendered artistic characters. The figures on the ceiling seemed to gaze down and smile at the spectators with keen interest, and perhaps the audience, in turn, looked up at the elaborately decorated ceiling with visible wonder.
Robert Sturua. Victory Celebration. Ceiling painting of the Ak. Tsereteli Theater in Chiatura. Detail. 1945-1950
With some variation, but employing a similar artistic approach, Sturua went on to design several other major works. In 1953, he created the ceiling composition for the House of Culture in the village of Shroma, Ozurgeti. The theme—a festive farewell ceremony for Ukrainians returning to their homeland after escaping the horrors of World War II in Guria—was rendered in a narrative and celebratory manner. He later painted the auditorium ceiling of the House of Culture in Gali, Abkhazia (late 1950s), depicting the Coronation of Tinatin, and, in 1960, he completed the ceiling panel of the House of Culture in Tkibuli (architect: Konstantine Chkheidze), with the theme of folk tales. In 1964, Sturua also created the frieze painting for the Leniniana Hall at the Tbilisi branch of Imeli.
Robert Sturua. Good Conquered Evil. Ceiling painting of the Tkibuli Culture House. Detail. 1960
The artistic solutions employed in the houses of culture and theaters throughout Georgia can be regarded as fascinating examples of Soviet kitsch within the broader cultural context. This characterization does not refer to the individual work of a single artist, but rather to the overall, unified interpretation of such venues. The modest regional architecture of the 1940s and 1950s – shaped by wartime poverty and the geographical distance from the capital – served as a foundation for these designs. Despite their unassuming exteriors, the interiors were adorned with an unexpected grandeur, evoking the opulence of Italian palazzos. This artistic approach was further enhanced by bold visual effects and experimental elements, perhaps facilitated by the fact that these events took place outside the capital. Traditional mythological themes were replaced by figures representing the heroes of labor and the friendship of Soviet peoples. Similarly, garlands of flowers and fruit were replaced by Soviet symbols; yet the overall compositional schemes retained an associative link to classical prototypes, blending innovation with a sense of continuity.
Robert Sturua's easel paintings are notable for their remarkable diversity.
Robert Sturua. Landscape. Tempera, plywood. 48x41 cm. ATINATI Private Collection
In 1950, within the scope of events commemorating the 100th anniversary of the Georgian Theater, Robert Sturua began working on a series of portraits depicting prominent figures from Georgian theatrical and literary history. Among these were portrayals of Nino Chavchavadze, Alexander Griboyedov, Ilia Chavchavadze, Akaki Tsereteli, and Nikoloz Baratashvili. The artist returned to the theme of Nino Chavchavadze and Alexander Griboyedov multiple times in his career (The Wedding of Nino Chavchavadze and Griboyedov, late 1940s/1961; a variation on the same theme is Griboyedov and Nino Chavchavadze in Tbilisi, 1957–1958; the small composition Pushkin Visiting Griboyedov’s Widow, etc.). Several other important works also date from this period, including portraits of David Guramishvili and Sulkhan-Saba Orbeliani, as well as narrative-historical compositions such as Fresco of Queen Tamar in Betania, Nikoloz Baratashvili in Manana Orbeliani's Salon, Nikoloz Baratashvili Reading Poems in Aleksandre Chavchavadze's Salon, David the Builder and Ioane Petritsi at the Gelati Academy (1957), and The Capture of Tbilisi, David the Builder (1960).
Robert Sturua. Griboedov and Nino Chavchavadze. Oil, canvas. 200x160 cm
Sturua’s journey to Svaneti marked a significant moment on his creative path, leading him to produce a remarkable series of watercolors (1955–1956). The distinguishing feature of these works lies in their diverse perspectives; the striking visual effects created through the interplay of foreground and background, and the dramatic contrast between the dark tones of the architecture and the clarity of the sky.
In the 1960s, the artist turned his attention to Georgian medieval architectural monuments, seeing him create a series of canvases featuring sites such as Gelati, Ninotsminda, Svetitskhoveli, and Samtavisi. He seemed captivated by the correlation between architecture and landscape, as exemplified in works like Narikala Fortress and Kaloubani. This relationship was explored both formally and thematically.
Robert Sturua. Narikala Fortress - Kaloubani. Oil, canvas. 53x67 cm. ATINATI Private Collection
Robert Sturua. Fragment of Temple. Pastel, plywood. 48x41 cm. ATINATI Private Collection
Robert Sturua. Landscape. Paper, gouache. 55x40 cm. 1960s. ATINATI Private Collection
Robert Sturua. Queen of Chess. Tempera, pencil, paper. 59x39,6 cm. 1963. ATINATI Private Collection
The artist also devoted considerable attention to the portrait genre. In his portraits of women, the entire composition is guided by a plastic motif, which serves not only to emphasize form, but also to romanticize the subject. These portraits possess a decorative quality that is enhanced by unusual angles and enlarged, close-up perspectives. Sturua was particularly interested in integrating individual decorative motifs—often, stylized national elements such as elaborately shaped headdresses and bold, vibrant colors. Among his most notable portrait works is a cycle from 1959 dedicated to his daughter, Leniko.
Robert Sturua. Burn With Anticipation. Paper mixed media. 42x32 cm. ATINATI Private Collection
To celebrate the achievements of the Georgian chess school, Robert Sturua created a striking portrait of chess master Nona Gaprindashvili riding a knight chess piece for the magazine Drosha. The image features a limited color palette and has a strong graphic quality, reminiscent of a poster. Employing decorative stylization, Sturua masterfully adapts his composition to the magazine print format of the 1960s—a limitation he was clearly aware of—resulting in an exceptionally memorable and iconic portrayal of Gaprindashvili.
Robert Sturua. Queen of Chess. Tempera and pencil on paper, mounted on cardboard. 59x39,6 cm. 1963. ATINATI Private Collection
In the 1970s, Sturua focused primarily on easel painting. His compositions from this period synthesize the artistic qualities that defined his earlier work. One such example is the painting Dadiani Woman and Beggar (1969), which demonstrates his skill in structuring form and color, his compositional sophistication, and his ability to evoke a sense of monumentality through a downward perspective. The work also showcases his affinity for rich decorative motifs and a strong narrative impulse.
Robert Sturua. Dream Kiss. Tempera, cardboard, 19,5x29,5 cm. 1970s. ATINATI Private Collection
Robert Sturua stands out among Soviet-era artists for having developed a distinctive and uniquely personal artistic language—one that he maintained in parallel to the prevailing ideological demands of the time.
