Artist Sergey Yuryevich Sudeikin
After the October revolution, the artist lived in Crimea for two years, then in Tiflis and Baku for a year, after which he emigrated to France-his way lay from Batumi, via Marseille, and in 1919 the artist moved to Paris. There he became a set designer: collaborates with the theater “die Fledermaus” and “the puppet show”. The activity of these theaters owed its entire existence to Sudeikin. D. Z. Kogan, who studied the artist’s heritage, notes that the creative principles of the artist in many ways influenced and determined the activities of the theater. “Here is a light genre with a claim to meaningful “fooling”, and stylization, and lightweight grotesque, and the sharpness of shifts and shifts, and the confusion of theater and life, truth and lies, and the connection of earthiness and sublimity.” Russian Russian sketches and programs were popular among the Russian emigrants, mainly due to the”Russian national style”.
In Paris, she designs ballet performances for the Pavlova troupe (ballets “Fairy dolls” and “Sleeping beauty”). Participates in a Russian group exhibition at the Dancy gallery in Paris. In emigration, work in the theater continues to be the main business of the artist.
Then Sudeikin moved with baliev’s troupe to the United States, where he settled in new York in 1922. At this stage of his career, it is important to note his participation in Russian exhibitions at the Brooklyn Museum in new York and at the Carnegie Institute in Pittsburgh.
In the 1920s and 1930s, the artist worked mainly for theaters: the Metropolitan Opera: ballets by I. F. Stravinsky, operas by H. A. Rimsky-Korsakov, R. Wagner , M. p. Mussorgsky, and V. Mozart. In addition, he collaborates with the troupes of j. Balanchine, M. Mordkin, and M. Fokin. The theatrical productions that Sudeikin managed to design during these years reflect His desire to be in the trend of advanced European trends and clearly demonstrate attempts to adapt new techniques to his work. One of these trends is the merging of theater and everyday life when “everyday life was being dramatized” and “theater was being lived out”. For the artist, this was expressed in the following: he simultaneously gravitated to the life of concreteness on the verge of objectivism and to the maximum theatrical Convention. A significant place in the artist’s work was taken by the design of works by I. F. Stravinsky. “Petrushka” was especially close to the artist due to its world-art character and farcical nature. This production is “characterized by the spicy, intense, teasing, inviting brightness of Sudeikin’s colors, sparkling in their artificiality and Artfulness”.
The design of the “Magic flute” for the Metropolitan Opera clearly shows a fabulous, fantastic world, a combination of aristocratic art and folk, lyrics and irony. The character of the fine art combined the stylization of German and French Rococo and Baroque with the motifs of Ancient Egypt.
Throughout the 30s, Sudeikin has maintained a reputation as a prolific theater artist.
In addition to the theater, Serey Sudeikin was engaged in easel painting, made decorative panels, and painted portraits. In his work, the principles of The “world of art”, cubism and expressionism are intricately intertwined. In General, Sudeikin’s easel work undergoes all the same processes as the theatrical decorative one. Here, too, he tries to pass through all the temptations of modern art. Among the famous easel works of the artist, a special place is occupied by: “Depression”, “Russian idyll”, “American panorama”. The original result of the artist’s creative path was the painting “My life” (1940s, private collection, new York). The final chord of the artist’s biography abroad, the final touch to the picture of his life: the master in front of the easel, life as a theater, colleagues in the person of S. p. Diaghilev, N. F. baliev, and Anna Pavlova in the artist’s palette.
Further important events in the life of the artist should be noted two exhibitions:
1929-personal exhibition at the Carnegie Institute;
1933-personal exhibition in the public library of the Brooklyn Museum.
1934-39-holds a number of solo exhibitions in galleries in new York and Los Angeles.
In 1934-35, the artist performed the sets for the Hollywood film adaptation Of Tolstoy’s Resurrection. Judging by the photos of the sketches, the artist was most successful in conveying the features of the life of the Russian province, but the impression of the prison is somewhat “Americanized” and the architecture of St. Petersburg seems implausible. The lack of proper expressiveness and correct reading of the novel was probably the result of the artist’s long stay away from home, which led to the appearance of alienation.
In the last years of his life, Sudeikin was seriously ill. In 1946, the artist died.
He is buried in the Brooklyn cemetery in new York. One of his last wishes was to transfer all of his creative heritage to his Homeland.