After the October Revolution, the artist lived in the Crimea for two years, then a year in Tiflis and Baku, after which he emigrated to France – his path lay from Batumi, through Marseille, and in 1919 the artist moved to Paris. There he becomes a set designer: he collaborates with the Bat and Balaganchik theaters. The whole activity of these theaters was due to Sudeikin. D.Z. Kogan, who studied the heritage of the artist, notes that the creative principles of the artist largely influenced and determined the activities of the theater. “Here is a light genre with a claim to the meaningful“ fooling ”, and stylization, and lightweight grotesque, and the sharpness of shifts and displacements, and confusion of theater and life, truth and lies, and the combination of earthiness and sublimity. The sketches and programs designed by him were popular among Russian emigration mainly due to the “Russian national style”.
In Paris, draws ballet performances for the troupe A. Pavlova (ballet “Fairy Dolls” and “Sleeping Beauty”). Participates in the Russian group exhibition in the Paris gallery “Dancy”. Continue reading
Konstantin Somov is one of the representatives of Russian symbolism. The development of the artist’s style was largely influenced by his studies at the Paris-based Colorassi studio (1897–1899); it was then that he mastered the lessons of modern and French rococo. The scenes of his canvases resemble gallant balls and masquerades, which were characteristic of the bygone XVIII century. Modernity in his works is mystically connected with the previous epoch, the genre scenes of his canvases are reminiscences of the last century, his characters vaguely resemble puppet Watteau, Boucher and Fragonard, but unlike their predecessors, the artist endows those depicted more mystical ghostly than elegant elegance. V.A. Lenyashin rightly noted that the sources of Somov “beyond the borders of the past days” are much deeper, more blunt: Botticelli, Watteau, Hoffmann.
The ghostly transparent eroticism, without which Somov did not think of art, then permeates the irreversibly spicy pages of the Book of the Marquise, appears about (like the Casanova doll) in the naively challenging and mechanically outspoken image of Columbine. Continue reading