Born into the family of a gendarmerie colonel. He studied at the MUZHVZ with A.E. Arkhipov, N.A. Kasatkin, A.M. Vasnetsov, L.O. Pasternak, V.A. Serov, K.A. Korovin (1897–1909). IN early works paid tribute to impressionism and symbolism. In October 1902, together with M.F. Larionov and A.V. Fonvizin, he was deprived of the right to attend school for a year for work, as Sudeikin recalled, “of obscene content.” Author of illustrations for Maurice Maeterlinck’s drama “The Death of Tentagille” (Moscow, 1903), for the magazines “Scales” (1904), “Golden Fleece” (1906–1909). In 1904 he participated in the Saratov exhibition “Scarlet Rose” (“Waltz of Snow Flakes”, “Pastoral”, “ Queen of Spades", "Night Landscape", "Lovers" and others), organized by P.V. Kuznetsov and P.S. Utkin. The exhibition participants were united by a connection with impressionism and at the same time a repulsion from its principles, an attraction to convention, primitivism and symbolism.
Together with N.N. Sapunov, he designed a number of productions for the opera company at the Hermitage Theater (“Camorra” by E.D. Esposito, “Orpheus” by Christoph Willibald Gluck, “Hansel and Gretel” by Engelbert Humperdinck and others), “The Death of Tentagille” (1905, Studio Theater on Povarskaya at the Moscow Art Theater). Author of sketches for the scenery of Maeterlinck's Sister Beatrice for the V.F. Komissarzhevskaya Theater (director V.E. Meyerhold. 1906).
S.Yu.Sudeikin. Eastern fairy tale. 1910s. Paper on cardboard, gouache, tempera. 96.5x65.5. TKG
Participant of the exhibitions MTX and SRH (1905), the Autumn Salon (1906. Paris), where he became acquainted with the works of Paul Gauguin, Puvis de Chavannes, Maurice Denis.
Participant of the exhibition (1907. Moscow) and the Blue Rose association (existed until 1910). Participated in the exhibition “Wreath–Stefanos” together with Larionov, G.B. Yakulov, A.V. Lentulov, D.D. and V.D. Burlyuk (1908). The amplitude of fluctuations between new quests and adherence to the principles of teachers was most clearly reflected in still lifes (“Saxon figurines.” 1911; “Still Life.” 1909; 1911. All - Russian Museum).
In 1909 he entered the Academy of Arts (workshop of D.N. Kardovsky, 1909–1911), since 1911 he was a member of the “World of Art” and a regular participant in the association’s exhibitions. In his passion for the gallant art of Rococo and sentimentalism, he follows Antoine Watteau and K.A. Somov, however, acting as a stylizer, he debunks stylization, introducing into it the rough precision of primitive art (“Russian Venus”. 1907. Tretyakov Gallery; “The Tempest”. 1909 ; “Northern Poet”. 1909. Both – private collection).
He designed the plays “Caesar and Cleopatra” by Bernard Shaw (together with Sapunov and A.A. Arapov. 1909), “Spring Madness” by Osip Dymov (1910. New Drama Theater); the opera “Fun of the Maidens” by M.A. Kuzmin (1911. Maly Drama Theatre) and “The Wrong Side of Life” by Jacinto Benavente (1912. Russian Drama Theatre). Author of illustrations for Kuzmin’s book “Chimes of Love” (Moscow, 1910). Performed the scenery for " Afternoon rest Faun" by Claude Debussy based on sketches by L.S. Bakst and for "The Rite of Spring" by I.F. Stravinsky based on sketches by N.K. Roerich (Diaghilev Season in Paris 1912), author of the scenery for the ballet "The Tragedies of Salome" by Florent Schmidt (Diaghilev Season 1913) and others.
Author of painting the walls and ceiling in the cabaret “Stray Dog” (together with V.P. Belkin and N.I. Kulbin. 1912), participant and designer of evenings, in particular “Evening of Five”, in which D. Burliuk, V. V. Kamensky, Igor Severyanin, A. A. Radakov (February 11, 1915). The evening was based on the idea of the “colored word”, undoubtedly related to the quest of the Futurist poets.
Easel works of this time - “Maslenitsa festivities” (1910s. Private collection), a series of popular prints “Maslenitsa Heroes” (mid-1910s. State Russian Museum), “Petrushka” (1915. Private collection), “Puppet Theater”, “Harlequinade” (both 1915. State Central Theater Museum) - distinguished by inconsistency, a growing craving for the grotesque and the “dulling” of lyricism, poetic elation and down-to-earth prosaism. These same trends were reflected in Sudeikin’s design of the cabaret “Comedians’ Halt” (1915) and the productions carried out there (for example, “Columbine’s Scarf” by Arthur Schnitzler, directed by Meyerhold. 1915; “Fantasy” by Kozma Prutkov. March 1917).
At the same time, a turn to concrete sensual nature is being planned, subordinating decorative tasks (“Bouquet”. 1913. Private collection; “Park”. 1915. Russian Russian Museum; “ Summer landscape" 1916. Tretyakov Gallery). IN portrait genre a person ceases to be a “sign” or “allegory” and appears in the reality of his existence. However, it would be hasty to assume that in the competition of two creative principles one of them triumphed the final victory. Completeness and unambiguity were contraindicated for Sudeikin; loyalty to the “game”, preservation of variability, reversibility of images constitute almost main nerve his creativity.
The artist greeted the February Revolution with enthusiasm (the popular print poster “Fly together, free birds...”). At the end of 1917 he ended up in Tiflis, where he became one of the organizers and designers of the poets’ cafe “Khimerioni”. In 1920 he emigrated to Paris, worked mainly as a master of theatrical and decorative painting, then in 1923 he moved to the USA.
Theater productions These years are characterized by increasingly persistent attempts to master the techniques of new trends in art, in particular cubism (for example, the design of the play “The Most Important Thing” by N.N. Evreinov for the Guild Theater. 1926; a number of productions at the Metropolitan Opera. 1924–1931) and expressionism (design of the ballet “Paganini” by S.V. Rachmaninov. 1939–1940. Covent Garden). He worked as an artist on the Hollywood film adaptation of Leo Tolstoy’s “Resurrection” (1934–1935). Easel works of this time: “Depression” (1930), “Work Song” (late 1920s), “Self-Portrait with Wife” (late 1920s), “American Panorama” (mid-1930s), “My Life” (1940s); all are in private collections.
silver Age. Portrait gallery cultural heroes of the turn of the 19th–20th centuries. Volume 3. S-Ya Fokin Pavel Evgenievich
SUDEYKIN Sergey Yurievich
SUDEYKIN Sergey Yurievich
7(19).3.1882 – 12.8.1946
Painter, set designer. He took part in the exhibitions of the “Union of Russian Artists”, “Scarlet Rose”, “Blue Rose”, “Golden Fleece”. Since 1911 member of the World of Art. Paintings “Pastoral” (1905), “Ballet Pastoral” (1906), “Revelry” (1906), “Harlequin’s Garden” (1907), “Venice” (1907), “Northern Poet” (1909), “Carousel” (1910), “Oriental Tale” (early 1910s), “Saxon Figures” (1911), “Flowers and Porcelain” (early 1910s), “Petrushka” (1915), etc. In the late 1890s he worked at the Moscow Private Opera of S. Mamontov, in 1900–1910 he designed performances in the New drama theater, Chamber Theater, theater V.F. Komissarzhevskaya. Since 1912 in the enterprise of S. Diaghilev. He designed the premises of the literary and artistic cafes “Stray Dog” and “Comedians’ Halt”, and was the author of sketches of scenery and costumes for the productions of these cabarets. The prototype of one of the characters in M. Kuzmin’s story “ Cardboard house" Husband of the artist O. Glebova. Since 1920 - abroad.
“Dressed with taste, combed, in a colored vest, with the eyes of an owl, like a blind, round-faced and pale brunette with a shaved face, he jumped up and sharply grasped the thought, developing it very strangely; suddenly, with important dignity, with a hand that seemed to have caught a fly, he fell silent, stood motionless, listening to himself, wrinkled his eyebrow: ear, mind! He was serious; but in the funny play of his thoughts some kind of nonsense was born" ( Andrey Bely. Between two revolutions).
“He loved comfort, he loved to shine in salons, he loved sophistication in everything, and there was always something defiant in his demeanor.
Sudeikin was wonderful artist. He was the first to legitimize, for example, the combination of bright green tones with bright red. In addition, he loved the very splendor of colors, their solemnity and festivity, and in everything - large, even reaching grandeur, dimensions. In the theatrical sense of the word, he was, in my opinion... overly selfish, especially in relation to the actor.
...He was always dressed like a dandy and loved to dress his wife; when he was in public, he even developed a special, very unpleasant manner of muttering words through his teeth and looking down on everyone, condescendingly throwing out some insignificant phrases. And then, however, moments came when Sudeikin suddenly threw all this off himself, and then a real artist and a fascinating person appeared in front of you. This was how he was at work, when he put on his blue work coat and, with extraordinary impetuosity and intensity, as if jokingly, threw his lush, fantastic and at the same time exquisitely harmonious colors onto the canvas. Only the painful, emphasized eroticism, often creepy to the point of madness, repelled me personally from Sudeikin’s paintings as a whole” ( A. Mgebrov. Life in the theater).
“Before me are Sudeikin’s paintings: here is a wonderful world, full of poetry, joy and humor, of ancient landscapes, noble lands, round dances under the green canopy of a grove, cutesy young people in love with rural beauties: a revived world of careless charm and love, over which Cupid, groomed in his grandmother's feather beds, he draws his bow. Here are fairs, booths, Petrushka, skating near Novinsky, where everyone is drunk and drunk, where rosy-cheeked merchant women fly by in a troika, and a snub-nosed official, languishing with lust, looks after them. Here are the hotly heated bourgeois upper rooms, offices in taverns with a window onto the church yard, exorbitant women, unsweetened girls, sex workers with convict faces, and the same... official quenching his lust with half a bottle of mountain ash. Here is the East, drunk with voluptuousness and laziness - Georgia, Persia, Armenia. Here, finally, are portraits of contemporary people, taken in some special, mysterious, eerie essence.
You stand, fascinated by this incomparable poet, mocker, mystic, powerful and furious colorist, and ask - from what depths did this art grow?
...It is as difficult to identify this poet-painter, now the Russian Watteau, now the Suzdal herbalist, as it is difficult to express in words the Slavic element: some single combination of contradictions" ( A. Tolstoy. In front of Sudeikin's paintings).
From the book Faith in the Crucible of Doubt. Orthodoxy and Russian literature in the 17th-20th centuries. author Dunaev Mikhail Mikhailovich From the book Mysteries of Anthropology. author Nizovsky Andrey YurievichNIZOVSKY Andrey Yurievich Mysteries of Anthropology About the book This book does not have ready answers to the most difficult questions origin and development of the human race. Based on an extensive collection of facts, many of which have not yet been published in Russian, the author
From the book Literary Matrix. A textbook written by writers. Volume 1 author Bitov Andrey From the book 1000 wise thoughts for every day author Kolesnik Andrey AlexandrovichMikhail Yuryevich Lermontov (1814–1841) poet... There was love without joy, there will be separation without sadness. ... Life is eternity, death is only a moment. ... The same empty person who is filled with himself. ... Of two friends, one is always the slave of the other, although often neither of them is aware of this
From the book History of Russian Literature of the 20th Century. Poetry of the Silver Age: tutorial author Kuzmina Svetlana From the book They say that they have been here... Celebrities in Chelyabinsk author God Ekaterina Vladimirovna From the book History of Russian Literature of the Second Half of the 20th Century. Volume II. 1953–1993. In the author's edition author Petelin Viktor Vasilievich From the book Black Cat author Govorukhin Stanislav Sergeevich From the book From each according to talent, to each according to destiny author Romanovsky Sergey Ivanovich From the book Silver Age. Portrait gallery of cultural heroes of the turn of the 19th–20th centuries. Volume 1. A-I author Fokin Pavel Evgenievich From the book Silver Age. Portrait gallery of cultural heroes of the turn of the 19th–20th centuries. Volume 3. S-Y author Fokin Pavel EvgenievichGEDROYTS Sergey allonym, the name of his deceased brother was taken; present name Vera Ignatievna; 26.3 (7.4). 1876, according to other sources 1870–1932 Doctor, poetess, prose writer. Member of the 1st "Workshop of Poets". Publications in the magazines “Northern Notes”, “Contemporary”, “Testaments”, “Bulletin of Theosophy”, “Almanac of the Muses”. Collections
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From the author's bookDYAGILEV Sergei Pavlovich 19(31).3.1872 – 19.8.1929Theatrical and artistic figure, one of the founders and editors of the magazine “World of Art”. Organizer of the “Russian Seasons” in Paris. “Elegant, not quite, but almost a “master”, with an admixture of something else, with a heavy and rather
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From the author's bookSOLOVIEV Sergei Mikhailovich 13(25).10.1885 – 2.3.1942Poet, literary critic, translator, memoirist. Publications in the magazines “Scales”, “Golden Fleece”, “Questions of Life”, in the collections “Free Conscience”. Poetry books “Flowers and Incense. The first book of poems" (M., 1907), "Crurifragium. Poems and
S. Yu. Sudeikin was born into the family of a gendarmerie colonel. In 1897, he entered the Moscow School of Painting and Painting, but in 1902 he was expelled for exhibiting works of “obscene content” at a student exhibition.
Already the first independent work Sudeikin’s works, with their romantic naivety and mother-of-pearl tones, turned out to be close to symbolist artists. He illustrated M. Maeterlinck's drama "The Death of Tentage" (1903), collaborated with the magazine "Scales", participated in the exhibitions "Scarlet Rose" (1904) and "Blue Rose" (1907), "Wreath - Stephanos" (1908) .
In 1909, Sudeikin entered the St. Petersburg Academy of Arts. At this time, the artist began a creative relationship with A. N. Benois, and through him with other “World of Art” artists. In 1911 he became a member of the World of Art association. A close friendship connected him with K. A. Somov. In many ways, Sudeikin based his works on the Somov “marquises,” which also reproduced pastoral scenes gallant era. “Pastoral” (1905), “Harlequin’s Garden”, “Venice” (both 1907), “Northern Poet” (1909), “Oriental Tale” (early 1910s) - the very names of Sudeikin’s paintings are already characteristic. His romantic plot often received a naive, primitive popular interpretation and contained elements of parody, grotesque, and theatricalization. His still lifes - "Saxon Figures" (1911), "Flowers and Porcelain" (early 1910s), etc. - for all their closeness to the still lifes of A. Ya. Golovin, they also resemble a theatrical performance, a stage. The theme of theater appeared more than once in his paintings. Sudeikin portrayed ballet and puppet show, Italian comedy and Russian Maslenitsa festivities(“Ballet Pastoral”, “Revelry”, both 1906; “Carousel”, 1910; “Petrushka”, 1915; series of popular prints “Maslenitsa Heroes”, mid-1910s, etc.).
It was theatrical and decorative art that became the artist’s main business. He collaborated with many theatrical figures those years. He was the first to attract him to the design opera performances at the Moscow Hermitage Theater S.I. Mamontov. In 1905, Sudeikin, together with N. N. Sapunov, designed “The Death of Tentazhil” staged by V. E. Meyerhold for the Studio Theater on Povarskaya; in 1906 - M. Maeterlinck’s drama “Sister Beatrice” at the V. F. Komissarzhevskaya Theater in St. Petersburg. In 1911, he worked on ballet performances at the Maly Drama Theater in St. Petersburg and on the comic opera “Fun of the Maidens” by M. A. Kuzmin, staged there; in 1912, together with A. Ya, Tairov, on the play “The Wrong Side of Life” by X. Benavente at the St. Petersburg Russian Drama Theater. In 1913 Sudeikin took part in the “Russian Seasons” in Paris, creating the sets and costumes for the ballets “The Red Mask” by N. N. Tcherepnin and “The Tragedy of Salome” by F. Schmidt.
In the 1910s Sudeikin becomes one of the central figures of the St. Petersburg artistic life. He designs books of poems by his friend the poet M.A. Kuzmin - “Chimes of Love” (1910), “Autumn Lakes” (1912); participates in productions of the "Tower Theater" in the house of the poet V. I. Ivanov; in 1910-11 helps V. E. Meyerhold organize the House of Sideshows, in 1911 he painted the walls of the cabaret “Stray Dog”, in 1915 he created decorative panels for the cabaret theater “Comedians’ Halt”.
In 1917, Sudeikin moved to Crimea, and then, in 1919, to Tiflis, where he and Georgian artists painted the Chimerioni zucchini. In 1920 the artist left for Paris.
Sudeikin's main works, performed abroad, also belong to the theatrical stage. The artist collaborated with N. F. Baliev in his cabaret revived on French soil " Bat", with the "Russian Opera" M. N. Kuznetsova, with the Apollo Theater; for ballet troupe A. P. Pavlova designed “The Sleeping Beauty” by P. I. Tchaikovsky and “The Fairy of Dolls” by I. Bayer. Moving to the USA in 1923 did not change the direction of Sudeikin’s interests. He worked a lot for the New York Metropolitan Opera, where he designed I. F. Stravinsky’s ballets “Petrushka” (1924), “The Nightingale” (1925), “Les Noces” (1929); operas "Sadko" by N. A. Rimsky-Korsakov (1929), "The Flying Dutchman" by R. Wagner (1930), etc. He also collaborated with the troupes of J. Balanchin and M. M. Fokin, created the scenery for the film "Resurrection" "(based on the novel by L.N. Tolstoy) for Hollywood (1934-35).
The seriously ill artist spent the last years of his life in poverty. His creative powers were exhausted.
Artistic cafe. 1915. Oil
Saxon figurines. 1911. Oil
Simoom. 1915. Tempera, gouache
Portrait of N. I. Kulbin. Cartoon. 1912-14. Watercolor, pencil, bronze, pastel, gouache
Vasily Vasilyevich Vereshchagin (1842–1904) died during Russo-Japanese War in 1904. The battleship Petropavlovsk, where he worked, was blown up by an enemy mine and sank in the Yellow Sea
- 10.07.2019 On July 13, the Literary Fund presents an auction collection of paintings, graphics and decorative arts, assessed by experts at total amount over 15,000,000 rubles
- 09.07.2019 The catalog contains 463 lots: paintings, graphics, porcelain, glass, silverware, jewelry, etc.
- 08.07.2019 The traditional twenty lots of the AI Auction are thirteen paintings and seven sheets of original graphics
- 05.07.2019 Sold 60% of the catalog. All lots went to Moscow and St. Petersburg
- 04.07.2019 On July 9, 2019, the auction “The Golden Age of Russian Literature. From a private European collection"
- 06.06.2019 The premonition did not disappoint. Buyers were in good mood, and the auction went great. On the very first day of “Russian week” the top 10 auction results for Russian art were updated. Almost $12 million was paid for Petrov-Vodkin
- 23.05.2019 You will be surprised, but this time I have a good feeling. I think that purchasing activity will be higher than last time. And the prices will most likely surprise you. Why? There will be a few words about this at the very end.
- 13.05.2019 Many believe that such a high concentration of very wealthy people inevitably creates adequate demand in the domestic art market. Alas, the scale of purchases of paintings in Russia is by no means directly proportional to the amount of personal wealth
- 24.04.2019 Surprisingly, many of the previous predicted IT breakthroughs did not come true. Maybe for the better. There is an opinion that instead of helping, the world's Internet giants are leading us into a trap. And only a small part of the richest population figured out in time what was what
- 29.03.2019 The Stroganovka students who met in the morgue were destined to become the inventors of social art, the instigators of the “bulldozer exhibition”, dealers in American souls and the most recognizable representatives of independent art. Soviet art in the world
- 13.06.2019 Brought to St. Petersburg works of art, created using artificial intelligence. Among the participants is the French art group OBVIOUS, who managed to effectively monetize this work
- 11.06.2019 In the Gallery of Art of Europe and America of the 19th–20th centuries. from June 19 it will be possible to see selected works A. Giacometti, I. Klein, Basquiat, E. Warhol, G. Richter, Z. Polke, M. Cattelan, A. Gursky and others from the collection of Fondation Louis Vuitton, Paris
- 11.06.2019 From June 19 to September 15, queues will line up in the Main Building of the Pushkin Museum on Volkhonka, 12, for an exhibition of about 150 works from the collection of Sergei Shchukin - paintings by Monet, Picasso, Gauguin, Derain, Matisse and others from the collections of the Pushkin Museum. Pushkin, Hermitage, Oriental Museum, etc.
- 11.06.2019 About 170 works by Goncharova from museums and collections from all over the world, including Russia, were brought to London for the exhibition.
- 07.06.2019 Until the end of June, the Tsereteli Gallery on Prechistenka is hosting a large personal exhibition of Konstantin Aleksandrovich Batynkov, who celebrates his 60th birthday this year
Artist Sergey Yurievich Sudeikin
Artist after October revolution he lived in 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 Theater and the Balaganchik theater. The activities of these theaters owed their entire existence to Sudeikin. D.Z. Kogan, who researched the artist’s heritage, notes that the artist’s creative principles largely influenced and determined the activities of the theater. "Here light genre with a claim to significant “foolishness”, and stylization, and lightweight grotesque, and the sharpness of shifts and displacements, and the confusion of theater and life, truth and lies, and a combination of the mundane and the sublime.” The sketches and programs designed by him were popular among the Russian emigration, mainly due to the “Russian national style.”
In Paris, he designs ballet performances for A. Pavlova’s troupe (ballets “The Fairy Dolls” and “The Sleeping Beauty”). Participates in a Russian group exhibition in the Parisian gallery "Densi". In exile, work in the theater continues to be the artist’s main occupation.
Then, with Baliev’s troupe, Sudeikin moved to the USA, where in 1922 he settled in New York. On at this stage creative path It is important to note his participation in Russian exhibitions at the Brooklyn Museum in New York and at the Carnegie Institution in Pittsburgh.
In the 1920s - 1930s. the artist works mainly for theatres: Metropolitan Opera: ballets by I.F. Stravinsky, operas by H.A. Rimsky-Korsakov, R. Wagner, M.P. Mussorgsky, W. Mozart. In addition, he collaborates with the troupes of J. Balanchine, M. Mordkin and M. Fokin. The theatrical productions that Sudeikin had the opportunity to stage 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 activities. One of these trends is the fusion of theater and Everyday life when “everyday life was theatricalized” and “the theater became everyday life.” For the artist this was expressed in the following: he simultaneously gravitated towards life concreteness on the verge of objectivism and towards maximum theatrical convention. A significant place in the artist’s work was occupied by the design of works by I.F. Stravinsky. “Petrushka” was especially close to the artist due to its world-artistic character and farcical nature. This production is “characteristic of the spicy, tense, teasing, inviting brightness of Sudike’s colors, sparkling in their artificiality and skill.”
When designing The Magic Flute for the Metropolitan Opera, the fabulous, fantasy world, a combination of aristocratic art and folk art, lyricism and irony. The nature of the fine art decisively combined the stylization of German and French Rococo and Baroque with motifs of Ancient Egypt.
Throughout the 30s. Sudeikin maintains his reputation as a prolific theater artist.
In addition to the theater, Serey Sudeikin was involved in easel painting, made decorative panels, painted portraits. The principles of the World of Art, Cubism and Expressionism are intricately intertwined in his work. In general, Sudeikin’s easel creativity undergoes all the same processes as theatrical scenery. Here he also tries to go through all the temptations contemporary art. Among the famous easel works The artist’s special place is occupied by: “Depression”, “Russian Idyll”, “American Panorama”. A unique 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, associates in the person of S.P. Diaghilev, N.F. Balieva, as well as Anna Pavlova in the artist’s palette.
Further important events In the life of the artist, two exhibitions should be noted:
1929 - personal exhibition at the Carnegie Institute;
1933 - personal exhibition in Public library Brooklyn Museum.
1934-39 - holds a number of solo exhibitions in galleries in New York and Los Angeles.
In 1934-35, the artist created the scenery for the Hollywood film adaptation of “Resurrection” by L.N. Tolstoy. Judging by the photographs of the sketches, the artist most successfully managed to convey the features of life in the Russian province, however, 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 a consequence of the artist’s long stay away from his homeland, which led to the appearance of alienation.
During the last years of his life, Sudeikin was seriously ill. The artist died in 1946.
He was buried in Brooklyn Cemetery in New York. One of his last wishes was to transfer all of his creative heritage to the homeland.
Kogan D.Z. Sergei Yurievich Sudeikin: 1884-1946. M.: 1974. P.140
