41. Woman in Interior [anii '30]

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41. Woman in Interior [anii '30]

Iosif Iser

1881, București - 1958, Bucureşti

Estimate:

EUR 3.000 - 5.000

Sold

EUR 4.000

References

CRĂCIUN, Eugen, "Iser", Căminul Artei Publishing House, Bucharest, 1945.

gouache on paper glued to cardboard, 46.5 x 32.5 cm, signed bottom left, in pencil, "ISER"; signed bottom left, in pen, "ISER"

Iosif Iser gradually developed a profound sense for the human being, particularly for the female model. He categorizes his work into cycles dedicated to odalisques, Spanish women, Colombinas, ballerinas or nude studies of the bodies of his muses. However, we will also find, of course, along with the results of the journeys he undertakes, a few creations that foreground female figures from his immediate circle. The synthetic line, through which the painter summarizes shapes and volumes and with which he transcribes the entire color palette, reveals, this time, Iser's protagonist sitting on a chair, posing for the artist in an intimate setting, perhaps even his own home. We can also talk, in this case, about the transposition of characteristics specific to an entire typology. If in the case of the odalisques we face statuesque poses that reveal sensuality and specific costume made of shalvar and transparent veils; in this work we observe that the artist has opted for clothing items specific to the woman of the West in the mid-twentieth century. The simple costume, consisting of a sleeveless white blouse and short, black trousers; the dyed red hair, cut short, which spills over the face of the protagonist, covering her gaze, but also the relaxed pose in which the muse appears positioned leg over leg, with hands resting on these, conveys an atmosphere of familiarity emanated both through the subject and through the pictorial manner. The background is reduced to a few broad strokes, randomly placed, in which the artist approached various shades: from cherry or brick red, to navy blue or light blue. We will see that, although his peregrinations were long over, the motifs are repeatedly taken up, and certain elements are transferred to other works. Especially the eastern shades will spring up in works like this one, appearing under pretexts such as that of the incongruent background. Thus motivated, Iser's choices reflect as idealizations of his reveries and a pretext to study the female model once again.

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