Studied at the Voronezh evening drawing classes at the Society of art lovers (1899-1901) L. G. Solov'eva and M. I. Ponomarev, and then in St. Petersburg (1902-1904) in the Studio of L. E. Dmitriev-Kavkazsky in Moscow (1904-1906) in the school of painting and drawing at the K. F. Yuon and I. O. Dudin, then at the Moscow school of painting, sculpture and architecture (1906-1910).. Kasatkina, S. D. Miloradovich, A. E. Arkhipov and K. A. Korovin. He taught at the Moscow Higher art and technical Institute (1922-1930), the Moscow textile Institute (1931-1939), the Moscow higher art-industrial school (1946-1952). One of the organizers of the society "Jack of diamonds". Participant in the exhibitions "knave of diamonds", "World of art", "Moscow painters", "Genesis", "Society of Moscow artists". Honored art worker of the RSFSR, corresponding member of the USSR Academy of arts.
In an imaginary group portrait of members of the society "Jack of diamonds" (1910) And V. Kuprin in the second row, next to V. V. Rozhdestvensky and R. R. Falk. In the first row will be "heroes" - I. Mashkov, P. Konchalovsky, A. Lentulov, and painting Kuprin in no way not loud and not even inspired by the fresh material of folk primitivism. It is clean sezannist, among his friends the most nervous and dramatic; but his still lifes kept the power of color and the plastic down and then when the former "jacks", muting your natural temperament, was renamed in "Moscow painters" (1925) and the Society of Moscow artists (1928). Kuprin studied in the Studio of L. E. Dmitriev-Kavkazsky in St. Petersburg (1902-04), in the Studio of K. Yuon in Moscow (1904-06) and in MUZHVZ (1906-10). Becoming a member of the "Jack of diamonds", he shared a common fascination with cézanne, but his interpretation of the composition stanitski gain enhanced returnest, shape - prickliness, color - contrast and tension ("still life with a blue tray", 1914; "still life with a statuette", 1919; "Autumn bouquet", 1925, etc.). Less direct than most of his comrades, he uses in the productions of culturally-significant objects - sculpture, tubing, horse skull; in General, he prefers artificial, unchanging nature, and fresh flowers in the set appear in his still lifes only to the 1930s But nature, alive and changeable, touchable and full of movement, appears in his Crimean landscapes created in 1930-50-ies. ("Poplar", 1927; "Baikalskaya valley", 1937; "Landscape with moon", 1944, etc.). The tonal closeness of their flavor still retains the decorative richness. And even in a series of industrial types of steel mills and oil fields, the artist does not lose the culture of the whole vision. In addition to creative work, Kuprin lot of time and effort was given to teaching: since 1920 - at the VKhUTEMAS, the Moscow textile Institute and other universities (up to 1952). Since 1954 - member of the Academy.