Yakov and Amir Pitchhadze
Artistic dynasties are not uncommon in the history of the arts - for example, families of musical instrument makers, violinists, writers, and so on. In our community, there is also a dynasty of creative individuals: the artists Yakov and Amir Pitchhadze. Today, we’re speaking with Amir.
– Amir, could you please tell us about your father and your joint creative work?
In 1988, my father, Yakov Pitchhadze, moved with our family to the Jewish community of Toronto from Israel, where he had previously immigrated from Soviet Georgia.
In Israel, my father gained extensive experience as an artist, educator, and philanthropist. His works were exhibited in the country's leading museums, including the Bat Yam Museum of Contemporary Art, the Museum of Russian Art in Ramat Gan, the Beit Emanuel Museum, and the Nahariya Museum. His art was also showcased at cultural institutions such as the Mann Auditorium and the Yad LeBanim House, as well as in the Israeli Parliament and private collections of high-ranking officials, including former Presidents and Prime Ministers of Israel—Shimon Peres and Ephraim Katzir—as well as the famous actor and singer Yoram Gaon.
My father taught fine art in both public and private institutions and was actively involved in philanthropy: he participated in art exhibitions where proceeds supported various social initiatives. These included aid to hospitals, support for public organizations such as B’nai B’rith, funding for cancer research, and cooperation with foundations like ILAN-Israel, which helps children with disabilities. Yakov Pitchhadze's contributions were widely recognized and extensively covered in Israeli media.
Our immigration to Canada was largely prompted by an invitation to exhibit my father's paintings at one of the country's prestigious commercial galleries—Galerie Heritage. Thanks to the support of gallery owner Igor Kuchinsky, my father’s works were featured in many exhibitions and earned the respect of the Canadian art community.
Renowned art critic Pat Fleischer noted: “Yakov brought to Canada a modern interpretation of Italian Renaissance painting” (ArtPost, Summer 1990). Journalist Belinda Silberman wrote: “The artist's premiere show was held on April 2 at the Four Seasons Hotel… The opening was attended by 1,200 people, including university museum curators and art collectors… Since then, Galerie Heritage has sold 18 of his works, and the artist has received portrait commissions from several prominent figures... His latest works, including delicate, lyrical portraits of Georgian women and religious Hebrew scholars, are now exhibited at Kuchinsky’s gallery.” (Canadian Jewish News, May 18, 1989)
In the early years of our life in Canada, I followed in my father’s footsteps and immersed myself in the world of visual art. I tried to learn from him not only the practical skills of painting but also art history, theory, and aesthetics. Shortly after finishing high school, my early works were exhibited at the Leah Posluns Theatre in Toronto. Critic Meriam Chinsky wrote in the Canadian Jewish News: “What can a 20-year-old young man say on a pastel board or canvas? A lot, if it’s Amir Pitchhadze—with his remarkable insight” (July 11, 1996).
I continued my studies in visual arts at York University, where my work attracted the attention of professionals. Dr. Ken Carpenter, Chair of the Department of Visual Arts and President of the Canadian chapter of the International Association of Art Critics, remarked: “In the entire history of our department, we’ve never had a case like this. Amir demonstrated an absolutely unique level of mastery. We are incredibly proud of him!” (Canadian Jewish News, April 23, 1998)
During my studies, I organized a charity art exhibition at York University, the proceeds of which supported student scholarships. The publication noted: “The exhibition featured original paintings (pastel and oil), prints, and art posters. At the opening, which drew over 500 guests, twelve works were sold.” (Exodus, June 1998)
Over the years, my father and I increasingly collaborated on painting projects. While such joint creative work is not typical for artists, for us, it became a natural process that not only advanced our artistic expression but also deepened our mutual respect and love. The blending of our individual ideas, artistic goals, and accumulated experience led to a multi-layered and constantly evolving artistic dialogue.
However, despite a successful academic career, unexpected circumstances forced me to reconsider my path. The fact is, my father suffered a stroke, and without hesitation, I left my job abroad to return home and support him. That turning point not only changed my life but also opened the door to the revival of our collaborative art. Returning to visual arts, my father and I once again joined forces to create new works.
