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Lot Essay
"After completing his academic studies in Moscow, in 1913 Isupov began traveling through Russia in search of subjects to paint in order to accumulate what was necessary to begin his journey to Italy, a country which in his 'fantasy' would transform him into a true artist.
Having decided to paint the arid landscapes of the Russian steppe, Isupov went to live with his wife among the Kyrgyz in the region of Orienburg. This painting represents the 'culmination' of this free and poetic stage of his life in which the painter abandoned the rigid technique that had been imposed throughout his academic studies in order to enthusiastically embrace a more fluid technique. This allowed him to work with more sincerity leading him to become a painter with a deep understanding of colour and of the power of truth and beauty.
It is this freshness that we find in the Kyrgyz Bride where the artist demonstrates his mastery through vivid colours and geographical patterns rendered in the fabric of the tent of the bride, who poses in all her splendor in the foreground. The juxtaposition of the colours of the tapestries, clothing and ornamentation as well as the treatment of the Mongolian form of the head and hands further demonstrate his masterful handling of the subject." (translated from G. Nicodemi, Alessio Issupoff, Milan, 1949).
The present lot was painted circa 1914 during Isupov's period in Kyrgyzstan and the Samarkand area. During this time he taught at the local art school, and later participated in a regional project of restoration of mosaic panels and ancient structures. The colours and spirituality of the Russian steppe inspired Isupov to create a series of Eastern landscapes and genre scenes. Isupov's meticulous attention to detail and his extensive knowledge of the region is evident in the costume and interiors surrounding the central figure: the bride's bright mules, peeping out from under her gown are of typical Central Asian style and usually have shagreen heels and embroidered purple velvet on the front. The opulence of the textiles, Khalat kaftans and carpets indicate the high rank of the bride, and the significance of the marriage.
Having decided to paint the arid landscapes of the Russian steppe, Isupov went to live with his wife among the Kyrgyz in the region of Orienburg. This painting represents the 'culmination' of this free and poetic stage of his life in which the painter abandoned the rigid technique that had been imposed throughout his academic studies in order to enthusiastically embrace a more fluid technique. This allowed him to work with more sincerity leading him to become a painter with a deep understanding of colour and of the power of truth and beauty.
It is this freshness that we find in the Kyrgyz Bride where the artist demonstrates his mastery through vivid colours and geographical patterns rendered in the fabric of the tent of the bride, who poses in all her splendor in the foreground. The juxtaposition of the colours of the tapestries, clothing and ornamentation as well as the treatment of the Mongolian form of the head and hands further demonstrate his masterful handling of the subject." (translated from G. Nicodemi, Alessio Issupoff, Milan, 1949).
The present lot was painted circa 1914 during Isupov's period in Kyrgyzstan and the Samarkand area. During this time he taught at the local art school, and later participated in a regional project of restoration of mosaic panels and ancient structures. The colours and spirituality of the Russian steppe inspired Isupov to create a series of Eastern landscapes and genre scenes. Isupov's meticulous attention to detail and his extensive knowledge of the region is evident in the costume and interiors surrounding the central figure: the bride's bright mules, peeping out from under her gown are of typical Central Asian style and usually have shagreen heels and embroidered purple velvet on the front. The opulence of the textiles, Khalat kaftans and carpets indicate the high rank of the bride, and the significance of the marriage.