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.” Continue reading
In fine art, still life (from FR. natur morte – “dead nature”) is usually called the image of inanimate objects United in a single compositional group. Still life can have both an independent meaning and be an integral part of the composition of a genre painting.
The still life expresses a person’s attitude to the world around them. It reveals the understanding of beauty that is inherent in the artist as a person of his time. Continue reading
Of course, it is worth making an important reservation: street art and its authors are very diverse in their origins. This is not an art direction that logically grows out of its predecessors, but rather some polymorphic resulting one that has more than one factor of influence in each particular case. Therefore, artists of the twentieth century (for example, Richard Hambleton, Andy Warhol, Keith Haring, Jean-Michel Basquiat, etc.) were certainly one of the sources for the emergence of street art, but not the only one, and perhaps not the main one. Other sources were:
> spray-graffiti, Brazilian pichaçao, murals (which were made by big artists like Rivera, Siqueiros, etc.).); Continue reading