Born Alexei Vladimirovich Issupov / Алексей Владимирович Исупов (Russia, 1889 - Italy, 1957) into a family of icon makers, the artist studied at the Moscow School of Painting before immigrating to Italy in 1926 where he changed his name to Alessio and ended up spending most of his life.
While actively roaming the country, he executes numerous landscapes and portraits which reflect his Russian heritage while including references to the great masters of the Renaissance.
His dynamic treatment of the brush and bright color palette were greatly appreciated by contemporary critics and collectors. | © Sotheby's
Alexei Vladimirovich Issupov was born in Vyatka (today Kirov) on March 10, 1889.
The son of a sculptor and gilder of icons, he learned to paint from artisan painters who worked with his father.
Wanting to express his artistic creativity, the young Alessio did not exercise the fatherly profession but left Vjatka for Moscow, where he attended the school of painting, sculpture and architecture.
He was supervised by the painter Apollinarij Michajlovic Vasnetsov, brother of Viktor, who introduced him to the Moscow artistic milieu and helped him find work.
Student and visiting museums, Issupoff formed his aesthetic "taste" by modulating it on contemporary Russian and French art.
Besides Vasnetsov, Valentin Serov and Konstantin Korovin taught him genre painting, landscape painting and portraiture.
After graduating in 1912, he traveled to the Urals region.
Assigned to the Tashkent garrison, he avoided the harsh experience of the First World War.
After his military service, he went to Turkestan immersing himself in a colorful and "magical" environment which would have strongly marked his painting.
In fact, many of his most famous works offer suggestive visions of the most remote countries of Central Asia.
Having settled in Samarkand with his wife Tamara Nikolaevna, he served as director of the local committee for the restoration and conservation of works of art and monuments.
He then perfected the technique of tempera on a wooden panel, creating works that, in their style, refer to traditional icon painting.
His return to Moscow in 1921 marked the beginning of the most painful period in his private life.
Finding himself in a difficult economic situation, Issupoff was reduced to becoming the artist of the "regime", or to painting portraits of senior Soviet leaders and scenes inspired by the Russian Revolution and the Red Army.
Once again, it was Vasnetsov who helped him, finding him paid employment in one of the many committees in Moscow.
Suffering from health problems, he went to Italy in 1926 for treatment.
His life then underwent a radical change.
Italy was the place of his personal and artistic rebirth. Issupoff immediately found a warm and flattering reception.
Since his arrival, he has had the opportunity to be appreciated by critics and the public.
Already in 1926, his first solo exhibition was organized in Rome.
Many other exhibitions followed in the most important cities of the peninsula and, in 1930, at the XVII Venice Biennale.
He "dedicated" the work of the Russian painter.
Taking advantage of the esteem, comfort and freedom of expression, the artist decided not to return to his country.
Issupoff's production itself shows just how painful that decision had been.
Painting "by heart", he recreated the Russia he had left behind.
Not that of the USSR, but that of before the revolution which he had known in his childhood and his youth.
"The impressions he has of his country come back to the new paintings with a greater richness of patterns and the scale of the deployment: the misty moors, the rivers which crisscross, the cold and the darkness, the snowy countryside, the birches who embroider their silver strike between the veils of fog, and grazing horses, sleigh, troika, plow".
Nostalgia, combined with unstable health, exacerbated the depression that struck him in his old age, making him hide in his own house and isolate him from the world.
According to his wife Tamara, in recent years he has painted very little and never attended the inauguration of the exhibitions dedicated to him.
Died in Rome on July 17, 1957 and was buried in the cemetery of Testaccio.
Nine years later, Tamara returned to Russia with the paintings inherited from her husband.
She donated many of these works to the Vjatka Art Museum, Issupoff's birthplace Themes, styles and orientations I ssupoff mainly painted places and faces from his home country. When he depicted an Italian peasant woman, his hand drew a face with Slavic features, while the small countryside of central Italy, on his canvas, became a corner of boundless Russia.
The female figure, the genre scene and the landscape were his favorite themes. Considering the frequency with which they appear in his works, it can be said that he was very fond of horses.
"The horses of the Issupoff" writes Giorgio Nicodemi "are not those of elegant meetings (...) are those of peasants or small Russian owners, attached to carriages or ridden by people who know how to stay courageously".
Issupoff could have been described as a "young man" Orientalist painter", whereas at the age of maturity, he was mainly portrait painter and landscape painter. The broad line and the supremacy given to the color (instead of the drawing) express his will to emphasize the spirit rather than the form of things.
This is evident in some scenes painted with such elementary lines bordering on sketching.
So it would seem that the living subjectivity of the artist Issupoff prevails on the "objective" world.
He must therefore "figure among the masters who drew from Impressionism the standard of open and breathing painting of light".
Il pittore Russo Alexei Vladimirovich Issupov Алексей Владимирович Исупов (Vjatka, 10 marzo 1889 - Roma, 17 luglio 1957), noto col nome italianizzato di Alessio Issupoff, nacque a Vjatka (l'attuale Kirov) il 10 marzo del 1889.
Figlio di un intagliatore e doratore di icone, imparò a dipingere dagli artigiani pittori che lavoravano col padre. Volendo dare espressione alla propria creatività artistica, il giovane Alessio non intraprese il mestiere paterno ma lasciò Vjatka per Mosca, dove frequentò la Scuola di Pittura, Scultura e Architettura.
Gli fu mentore il pittore Apollinarij Michajlovic Vasnetsov, fratello di Viktor, che lo introdusse nel milieu artistico moscovita e lo aiutò a trovare lavoro.
Studiando e visitando musei, Issupoff formò il proprio “gusto” estetico modulandolo sull'arte contemporanea russa e francese.
Oltre a Vasnetsov, ebbe come maestri Valentin Serov e Konstantin Korovin, che lo educarono alla pittura di genere, a quella paesaggistica ed alla ritrattistica.
Ottenuto il diploma nel 1912, prese a viaggiare nella regione degli Urali.
Assegnato alla guarnigione di Tashkent, evitò di fare la cruda esperienza della prima Guerra Mondiale.
Finito il servizio militare, viaggiò per il Turkestan immergendosi in un ambiente variopinto e “magico”, che avrebbe segnato fortemente la sua pittura. Molte delle sue opere più note, infatti, offrono suggestive visioni delle più remote lande dell'Asia Centrale.
Stabilitosi a Samarcanda con la moglie Tamara Nikolaevna, svolse qui le funzioni di direttore del locale Comitato di Restauro e Conservazione delle opere d'arte e dei monumenti cittadini.
Si perfezionò allora nella tecnica della tempera su pannello ligneo creando opere che, nello stile, si richiamano alla tradizionale pittura delle icone.
Il ritorno a Mosca, avvenuto nel 1921, segnò l'inizio del periodo più sofferto della sua vita privata.
Trovatosi in ristrettezze economiche, Issupoff si ridusse a fare l'artista “di regime”, ovvero a dipingere ritratti di alti dirigenti sovietici e scene ispirate alla Rivoluzione Russa e alle imprese dell'Armata Rossa.
Ancora una volta fu Vasnetsov ad aiutarlo, trovandogli un lavoro salariato all'interno di uno dei tanti Comitati moscoviti.
Afflitto da problemi di salute, nel 1926 si recò in Italia per curarsi. La sua vita ebbe allora una svolta radicale.
L'Italia fu il luogo della sua rinascita, personale e artistica.
Issupoff vi trovò subito una benevola e lusinghiera accoglienza. Ebbe, fin dal suo arrivo, occasione di farsi apprezzare dalla critica e dal pubblico.
Già nel 1926 fu allestita la sua prima personale a Roma. Seguirono numerose altre mostre nelle più importanti città della Penisola e, nel 1930, la XVII Biennale di Venezia “consacrò” l'opera del pittore russo. Godendo di stima, d'agiatezza e di libertà d'espressione l'artista decise di non rimpatriare.
Quanto sofferta fosse stata tale decisione è dimostrato dalla produzione stessa di Issupoff.
Dipingendo “a memoria”, egli ricreò la Russia che aveva lasciato.
Non quella sovietica, ma quella pre-rivoluzionaria che aveva conosciuto nell'infanzia e nella giovinezza.
«Le impressioni che egli serba del suo paese ritornano nei nuovi quadri con maggiore ricchezza di motivi e ampiezza di svolgimenti: lande brumose, i fiumi che solcano, gelidi e cupi, la campagna bianca di neve, betulle che ricamano le loro frappe argentate tra veli di nebbia, e cavalli al pascolo, alla slitta, alla troika, all'aratro».
La nostalgia, unita alla salute malferma, acuì la depressione, che lo colpì in età avanzata facendolo rintanare in casa propria e isolandolo dal mondo.
Negli ultimi anni, racconta la moglie Tamara, dipinse pochissimo e non fu mai presente all'inaugurazione delle mostre a lui dedicate.
Morì a Roma il 17 luglio 1957 e fu sepolto al cimitero del Testaccio.
Nove anni dopo, Tamara tornò in Russia portando con sé i dipinti ereditati dal marito. Molte di queste opere furono da lei donate al museo d'arte di Vjatka, la città natale di Issupoff. | © Wikipedia
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