103. In the Garden [1945]

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103. In the Garden [1945]

Iosif Iser

1881, București - 1958, Bucureşti

Estimate:

EUR 10.000 - 18.000

Not sold

References

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

oil on canvas, 61.5 x 50.5 cm, signed bottom left, in black, 'Iser'; dated bottom right, in black, '(19)45'

Although he started out in art with a caricatural view of the world, Iosif Iser gradually developed a deep sense of the human being, especially the female model. He categorises his work into cycles dedicated to odalisques, Spanish girls, doves, ballerinas or nude studies of the body of his muses. But we will also find, in addition to the results of the peregrinations he undertakes, some creations that bring to the forefront the ordinary woman from the city or the countryside. The synthetic line, with which the painter summarizes shapes and volumes and with which he transcribes the whole chromatic palette, reveals, this time, Iser's protagonist seated on a chair, posing for the artist surrounded by nature. In this case too, we can speak of the transposition of the specific characteristics of an entire typology. If in the case of the odalisques, we are confronted with the statuesque poses that show sensuality and the specific costume made of shawls and transparent veils; in the present work, we notice that the artist has opted for clothing specific to Western women in the mid-20th century. The long, knee-length dress, illustrated in a dark colour, the contrasting coloured jacket, the wide-brimmed hat and the fashionable hair of the time remind us of the daily existence of the painter who was so often enchanted by the colours of the Orient. We shall see that, although his peregrinations have long since been completed, the motifs are taken up again and again, and certain elements are transferred to other works. Eastern shades will also emerge in works such as this, manifesting under guises such as the colour of the season or the transformation of nature. Motivated in this way, Iser's choices appear to us as idealizations of his reveries and a pretext to study, once again, the female model.

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