Ketevan Mikeladze

Dr. Ketevan Mikeladze (ქეთევან მიქელაძე) graduated from the Tbilisi State Academy of Fine Arts, Department of the History and Theory of Art. 1985-2006 she worked as a researcher at the the G. Chubinashvili Institute for Georgian Art History. Snice 2006 she works

at George Chubinashvili National Research Center for Georgian Art History and Heritage Preservation in the position of chief researcher.

Dr. Mikeladze is a scholar with rich experience in academic research of Medieval Georgian art, especially regarding the wall paintings. She is a leading expert in the field of preservation of medieval wall painting as well.

She is an author of several publications:

  • Greek Painters from 14th to 17th centuries in Georgia. Inscriptions as Tesimony, Byzantinoslavica, ISSN 0007-7712, Vol. 79, Nº. 1-2, 2021,

  • Significance of the Painters’ Inscriptions for the Study of the Medieval Georgian

  • Mural Painting (in Georgian, English resume), Georgian Antiquities, 20, 2017

  • The Jakeli Portraits ( in Georgian , abstracts in English), Georgian Antiquities,18, 2015

Articles

The second half of the 19th century and the early 20th century are thought of as a significant period in the development of the humanities in Georgia. During this time,

Sergo Chakhoiants belonged to the generation of artists of the 1950s, though it wasn’t until the 2000s that he gained recognition. His son, Alexander Chakhoiants, shared that the artist’s lifelong

Bediani is a small town in Tsalka Municipality, located in the historic province of Trialeti. It was established in 1954 in connection with the construction of the Khrami Hydroelectric Power

Nikoloz Kandelaki is one of the most outstanding representatives of modern Georgian art, and the development of realistic sculpture in Georgia is associated with both he and Iakob Nikoladze. In

In the nineteenth-century, Kutaisi was the second-largest city of Georgia and a center of governance within the Russian Empire. By the end of the century, the construction of administrative and

Paris, autumn 1959. The Galerie Charpentier is getting ready for its traditional exhibition of artists – graduates from the Paris School. But then Raymond Naceta the gallery’s director, decides to

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