99. Daisy in Thought (Desirée Sterian Iser) [1916]

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99. Daisy in Thought (Desirée Sterian Iser) [1916]

Iosif Iser

1881, București - 1958, Bucureşti

Estimate:

EUR 3.500 - 5.500

Not sold

pastel on paper, 81 x 57 cm, signed and dated bottom right, in black, "ISER, 1916"

PROVENANCE

the collection of the composer Anatol Vieru

In February 1914, painter Iosif Iser married sculptor Desirée Sterian (known more to her close ones as Daisy). Their union coincided with one of their first journeys together, when they arrived in France for a study trip. Inevitably, they would also stop in Venice, Assisi, Perugia, Rome, and Bologna, and in March of the same year they settled in Paris (more specifically in Montmartre, where they would meet Constantin Brâncuși). The outbreak of war, however, would change the plans of the young couple, who would now be forced to return to their home country. In 1916, Iosif Iser traveled with his wife to Dobrogea, Argeș, and the Olt Valley; and the highlight of the year would be translated into an exhibition at the Athenaeum, an exhibition in which over 200 works by the painter were displayed, as well as a few sculptures signed by Desirée Sterian. The couple's journey continued in 1919 with a trip to Istanbul, and 1921 found them back in Paris. In 1925, Iosif Iser exhibited a portrait of his wife at the Salon des Tuileries (though we cannot be certain if it is the work in question). Also in 1925, the two opened a joint exhibition at Ileana Hall in Bucharest. Of their travels, we remember those in Spain, Munich, or Neuilly-sur-Seine; but in 1934 they will settle permanently in Bucharest. Bearing the date "1916", the present work is visibly different from the manner in which Iosif Iser used to represent, for example, the oriental theme specific to the period. Chromatically, however, the background is similar to the lush vegetation that the artist included so many times in the landscapes encountered on his travels. From the figures of odalisques to the portrait of his wife, we note stylistic changes and different chromatic approaches; but also clear delimitations regarding clothing, posture, or the protagonists' facial expression.

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