Tribute of Milano Marittima to the Russian artist FEDOR K. SUSKOV

In the splendid rooms of the Hotel Palace in Milano Marittima of Cervia (Ravenna) there was an elegant evening celebrating the artistic genius of the eclectic Russian artist Fedor Kuz’mich Suskov (architect, sculptor and painter) in the presence of the Honorary Consul of the Federation Russian from Ancona Armando Ginesi, from the niece of the artist Anna Nazarova, from the Councilor for Culture of the Municipality Roberta Penso, from the representative of the banking institute Monte dei Paschi of Siena Giuseppe Gentili, of entrepreneurs, of art lovers including Raffaella Ricciardi , Francesca Bocchini, Enrico Ravegnani and Virgilio Patarini.

Many Russian presences, some of which expressly came from the Federation and, in particular, from Voronez, the author’s original city, born in 1923 and died in 2006.
The artist, as already mentioned, was an architect, sculptor but also a painter and decorator and is one of the most interesting artistic talents, although not well known outside his homeland, lived and grew professionally in the former Soviet Union of which he interpreted , despite a thousand contradictions, the glories and rhetoric. In Russia he has built over fifty monuments located in the cities of Voronez, of Rossoz on the Don, in central Russia and in Ukraine. His intense activity in the field of public commissioning had a very particular and extremely rare characteristic, namely the fact that he never owned the card of the Communist Party. This of course also charged him with prices including a ban on going to work in Japan.

A very religious spirit, he created paintings depicting the ancient icons of the Russian tradition. His painting – as demonstrated in the Cervia exhibition – expresses a profound feeling of sacredness even when he does not explicitly address religious subjects.
The works exhibited at the Hotel Palace in Milano Marittima amply demonstrate the stylistic ties with their contemporaneity, oscillating between symbolist, pointellist and, with a splendid self-portrait, post-cubist influences of clear C├ęzannian origin.