Project Description

Alessio Issupoff (Vjatka 1889 – Rome 1957), Snowy landscape

Oil on panel cm 45 x 78 signed (Alessio Issupoff) lower left.


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«Antonio Mancini praised him with these words: “He is a painter who knows the joy and the power of color”. But the brilliant colorist is also, wherever he goes, a lively observer and descriptor of local customs and characters, of types, scenes, and landscapes. And the pleasant nature of these characteristic subjects in which he exercises his pictorial sensitivity is not the last reason for the sympathies that Issupoff knows how to earn. In his exhibitions there is always a journey to do and a country to discover. The impressions he has of his country return to the new paintings with greater richness of motifs and breadth of unfolding: misty moors, the rivers that furrow, icy and gloomy, the snow-white countryside, birches that embroider their silvery layers between veils of fog, and horses grazing, sled, troika, plow; those hairy steppe horses that Issupoff paints so well.

[…] His brushstroke, which spreads wide on the canvas, is of a velvety and rich paste. He passes as a capabel artist from the most vivid colors to the most delicate and subdued grays». With these words, the critic Bucci commented in 1930 the works exhibited by Alessio Issupoff at the 1930 Venice Biennale.

Alessio Issupoff

Originally from Vyatka, in northern Russia, but trained at the School of Painting, Sculpture and Architecture in Moscow under the leadership of the fathers of Russian national painting Valentin Serov and Konstantin Korovin, Issupoff prefers a landscape painting, which will only open in the years of maturity. to portraits. The bright colors and the evanescence of light, stylistic figures of Issupoff’s brushstrokes found even in this snow-covered landscape, suggest its closeness to the French-derived Russian naturalism-impressionism headed by names like Isaak Levitan, Valentin Serov and Filipp Maliavine.

In particular, the work presented here, datable to the Twenties, constitutes tangible proof of the moving and unstable brushstroke, characterized by an unmistakable speed and chromatic ignition, typical of the ductus pictorial of the Russian painter, who moved definitively to Italy in the 1926. The snowy landscapes of its land are tempting for European collectors: the often flaked and certainly impressionist matrix, very fast in defining the violent patches of color, as it is clearly visible in the landscape presented here, still fascinates for the chromatic potential and lighting.