Maria Bregman, writer and art-critic
The passing of Zurab Konstantinovich Tsereteli is not merely a loss for the art world; it is an event felt with a profound, almost physical sentience, as though the very fabric of the cultural landscape has irrevocably shifted. When such an individual departs, one inevitably reaches for that hallowed phrase, applicable to a select group: “An era has passed!” Today, we have indeed lost an entire epoch, a veritable colossus, a titan of global art. For me, as someone privileged to have known Zurab Konstantinovich not only as a great artist and the esteemed head of the Russian Academy of Arts, but also as a superior, a mentor, and a cherished friend, this loss resonates with particular pain and sadness. For many years, I had the distinct honour of working under his auspices at the International Fund for UNESCO Support and, a source of immense personal pride, curating his solo art exhibitions – a mark of the incredible trust he placed in me and my stewardship of his creative vision. Creativity.UK offers this reflection on an extraordinary man whose legacy extends far beyond his monumental creations.
A True Titan Departs
Zurab Konstantinovich was a unique phenomenon – a man possessed of a rare joie de vivre, a wonderful friend, a generous patron of the arts, and, unequivocally, a talent of staggering proportions. My deepest condolences extend to all who valued and respected him, and indeed, such individuals numbered in their multitudes across the globe. His departure is a profound loss not only for Russia and his native Georgia but for the entire international cultural community. He was a figure as monumental as many of his creations, a man whose energy and creative scope appeared boundless. President of the Russian Academy of Arts, founder and director of the Moscow Museum of Modern Art (MMOMA) – these esteemed titles merely scratch the surface of his indefatigable activity and influence.
Warmth Beyond The Bronze
It was my great fortune to know Zurab Konstantinovich not merely as a peer in the realm of art but as a man of surprising kindness, warmth, sensitivity, and profound perception. Behind the image of the monumentalist, the creator of gargantuan sculptures that reshape cityscapes, resided the soul of an artist capable of deep empathy and sincere engagement. He was genuinely connected to the populace – he created and lived both about the people and for the people. His studio doors were perpetually open; he conversed readily with individuals from all walks of life. This tangible connection to lived reality, to the pulse of the everyday, undoubtedly nourished his creative output, lending it a particular strength and authenticity. In personal interactions, he captivated with his wisdom, his infectious humour, and an undeniable, larger-than-life charisma.
Georgian Soul, Global Reach
Born in Tbilisi in 1934, Zurab Konstantinovich retained an ardent, lifelong devotion to his native Georgia, its vibrant culture, and its rich traditions. This was manifest not only in major works like the monumental ensemble ‘Chronicle of Georgia’ near Tbilisi but also in his tireless efforts to revive and preserve the unique art of Georgian cloisonné enamel. Having graduated from the painting faculty of the Tbilisi Academy of Arts in 1958, he displayed an early interest in diverse artistic facets, working at the Institute of History, Archaeology, and Ethnography of the Georgian Academy of Sciences and participating in research expeditions. This deep-seated connection to his roots, to the history and culture of his homeland, formed the bedrock upon which his powerful, instantly recognisable artistic style was built.
Destiny-Shaping Encounters
A pivotal juncture in his early career was his journey to France in 1964. There, he encountered two titans of 20th-century art: Pablo Picasso and Marc Chagall. These meetings, by his own account, exerted an immense influence. “Entering Picasso’s studio, I understood that an artist could simultaneously engage in sculpture, painting, and graphics,” Tsereteli recalled. This revelation starkly contrasted with the prevailing Soviet concept of narrow specialisation, which dictated that artists confine themselves to a single discipline. His interactions with Picasso and Chagall (who later visited Tsereteli in Moscow) solidified his aspiration towards artistic universalism, towards a synthesis of the arts, which became a defining characteristic of his creative methodology. He absorbed the spirit of freedom and audaciousness inherent in European modernism, yet crucially, without sacrificing his innate artistic identity.
From Pitsunda To Olympics
His return to the USSR marked the commencement of his significant monumental work. His role as chief designer for the Pitsunda resort complex (1965–1967), followed by the creation of the monumental ensemble for the children’s resort town in Adler (1973), brought him widespread recognition. During the 1970s and 1980s, he served as the chief artist for the USSR Ministry of Foreign Affairs, designing Soviet embassy buildings abroad. His talent gained international traction: in 1979, his monument ‘Science, Education – to the World’ was erected in Brockport, New York, followed by the composition ‘Happiness to the Children of the World’. The apogee of this period was his appointment as chief artist for the XXII Olympic Games in Moscow in 1980. Concurrently, his grandiose sculpture ‘Man and Sun’ appeared in Tbilisi, and in 1982, the celebrated ‘Friendship Forever’ monument was unveiled in Moscow, commemorating the bicentenary of the Treaty of Georgievsk.
Forging Post-Soviet Moscow
The dissolution of the Soviet Union ushered in a new, transformative phase in Tsereteli’s oeuvre, intricately linked with the reshaping of Moscow’s urban identity. He became the lead artist for the construction of the Memorial Complex on Poklonnaya Hill (1995), creating the Victory Monument featuring St. George and a towering 142-metre stele. He participated significantly in the reconstruction of the Cathedral of Christ the Saviour (1995–2000). He developed the overall design concept for the new Manezhnaya Square and the Okhotny Ryad shopping complex (1997). This period also witnessed the emergence of arguably his most contentious work – the monument to Peter the Great on the Moscow River (1997). Officially titled ‘In Commemoration of the 300th Anniversary of the Russian Fleet’, the 98-metre behemoth ignited a firestorm of public debate, attracting accusations of gigantism and aesthetic dissonance. Yet, even this intense polemic underscored the sheer scale of the artist’s personality and ambition, his unwavering resolve to realise his visions, sometimes in defiance of prevailing opinion. He was quite literally altering the cityscape, embedding his colossal creations within its narrative.
Academician And Arts Instigator
In 1997, Zurab Tsereteli was elected President of the Russian Academy of Arts, a position he held until the end of his life. This was far more than an honorary title; he invested immense energy into the Academy’s development. His most significant achievement in this capacity was the inauguration, in 1999, of the Moscow Museum of Modern Art (MMOMA) – Russia’s first state museum solely dedicated to modern and contemporary art – of which he also became Director. Subsequently, the Zurab Tsereteli Art Gallery opened in 2001, followed by the Zurab Tsereteli Museum-Workshop in 2009. In 2012, he founded a Museum of Modern Art in his native Tbilisi. He did not merely create art; he built institutions, supported emerging artists, and fostered dialogue across generations and artistic movements. His contribution to museology and arts education in Russia is immeasurable.
The Master’s Voice In Space
Sculptors, particularly monumentalists of Tsereteli’s stature, leave behind more than just individual artworks. They shape entire environments, creating spaces imbued with meaning and the palpable spirit of their presence. Moscow, Tbilisi, London, New York – cities across the globe bear the indelible mark of his creations. These now stand as places of memory, spaces of quiet contemplation where the master’s voice resonates. For those yet unfamiliar with the sheer scale of this individual, traversing these artistic routes is essential. To witness the audacious concepts he brought to fruition. To comprehend the profound reverence with which he preserved his national culture, the immense effort dedicated to reviving Georgian enamelwork. And to sense the extraordinary breadth of his gifts, encompassing not only sculpture but also painting, graphics, mosaic, enamel, architecture, design, pedagogy, and theatrical design. His ‘Alley of Russian Rulers’ in Moscow or the designs for the ‘Park Pobedy’ and ‘Trubnaya’ metro stations offer mere glimpses into the vast legacy he bequeathed.
A Testament To Creation
Despite the controversies surrounding certain works, or his purported political stances (which he himself refuted, stating, “I do not interfere in politics… Art for art’s sake”), Zurab Tsereteli remained steadfastly true to himself and his calling. He lived life to the fullest, created with unflagging passion, and generously shared his talent and formidable energy. A recipient of numerous prestigious honours, including France’s Legion of Honour and all degrees of Russia’s Order ‘For Merit to the Fatherland’, he received recognition at the highest levels. Yet, the ultimate validation lies in his works, which continue to live, provoke debate, inspire awe, elicit wonder, but never, ever leave one indifferent.
He is no longer with us, but he remains – in his artworks, in the spaces he transformed, in the memories of all fortunate enough to have known him personally or simply to have encountered his creations. He was a man who built bridges – between cultures, between epochs, between people. His art stands as a powerful hymn to life, to energy, to the irrepressible act of creation. And as long as his monuments stand, as long as the museums he founded thrive, as long as his students and friends remember him, the era of Zurab Tsereteli endures. May the memory of this great Master, this titan, this friend, be eternally bright.
