Paulina Sudarski from expressive cheerfulness to the tragic end

An Inquiry into the Painter's Past: A Study of Pauline Sudarski's Formative Era Through a Close Look at Her Path Through the Royal School of Art - Unknown Paths and Portraits of Youth Shape Her Artistic Legacy.

Artwork by Paulina Sudarski

Artistic diversity and involvement of Pauline Sudarski

A year before Paulina was to enter the Academy of Fine Arts, the magazine "Zena danas" was launched in Belgrade, which featured articles on various topics of interest to women of all profiles, structures and ages. (38) They wrote about women's right to vote, about the work of organizations of the women's movement, but also about the position of women, education and health care of children, about hygiene, theater, film, sports, gymnastics, fashion, etc. At the end, various practical tips were given to women regarding food preparation, tailoring, sewing, knitting and cosmetics. (39)

The quality of the magazine, especially its visual appearance, was contributed by the illustrations in the form of drawings and vignettes by individual artists-collaborators: Đorđe Andrejevića Kun, Zora Petrović, Cuce Sokić... Among them was Paulina Sudarski, who "many articles and supplemented the literary contributions with her own drawings, with a simplified, yet soft and warm stroke". (40)
In addition to this magazine, Paulina also collaborated with "Vojvođanski zbornik", where, in addition to her, her professor Petar Dobrović, but also Milan Konjović, Ivan Tabaković, Vasa Pomorišac, Milenko Šerban... (41) Paulina Sudarski belongs to the younger generation of painters-collaborators with Bogdan Šuput, Stojan Trumić, Đurđo Teodorović, whose contributions exuded a certain anti-fascist attitude. (42)
During all that time, Sudarska did not neglect her work at the Academy, because there will be not only the zenith of her art, but also the place where her probably last preserved works originated. We have seen that the human figure and the human body predominate as Pauline's thematic commitment. But she also did still life and landscapes. When it comes to this first topic, we mentioned at the beginning an early school paper (NMZR, inv. no. 498) probably written in his native Vranjevo. Since then, quite enough time, work and training have passed in the life of the young painter, which is best shown by the still life works made during her studies. The two works were created in the same period, which we can see not only by the almost identical motifs, but also by the color and amount of light represented. (43) The Still Life owned by the National Museum of Zrenjanin (inv. no. 80) is completely different, which by its expression of not only color but also form belongs to Paulina's most mature works. The color here is muted, dark, with an intense yellow-orange piece of pumpkin as the bright nucleus of the picture.
As much as Paulina is similar to her professor in the nudes, she is the most distant in the landscapes. She doesn't have Dobrović's ringing and colorfulness. Her nature is calm, undisturbed, with neither strong colors nor swirling shapes. During that fourth decade, Dobrović spent a lot of time in Dalmatia, so that Mediterranean environment will find its place on his canvases. Based on a couple of preserved and signed drawings, we see that Paulina stayed in Čerević in August 1938. We don't know if it was a private visit during the summer vacation or a study trip to nature, but we certainly have two pictures left by her in addition to those drawings, in which we clearly recognize the small town of Bačka, located along the Danube (Pejzaž, NMZR, inventory no. 197 and Čerević, owner of PU "Pava Sudarski", Novi Bečej).

38 The magazine began to be published at the initiative of the KPJ in the fall of 1936, as a legal and independent paper with the task of awakening and raising the political consciousness of Yugoslavian women. Before the very beginning of the war, he particularly stood out in the fight against fascism, proclaiming democracy and peace; having played a historic role in the revolutionary direction of women and their striving for emancipation and equality.
39 Jovanka Kecman, Women of Yugoslavia in the labor movement and women's organizations, 1918-1941, National Book-Institute for Contemporary History, Belgrade, 1978, 361-362.
40 Women of Serbia in NOB, Nolit, Belgrade, 1975.
41 "Vojvođanski zbornik" was launched in January 1938 at the initiative of Miloj Čiplić as a "cultural and literary youth magazine".
42 Vera Jovanović, Bogdan Šuput, Pavel Beljanski Memorial Collection, Novi Sad, 1984, p. 47.
43 One still life is the property of Preschool "Pava Sudarski" from Novi Bečej, and the other belongs to Paulina's cousin Tatjana Janković from Belgrade.

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