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This artist was always at the forefront of the revolution, but nevertheless, not all of his canvases saw the light of exhibition lamps. There are also those that were categorically prohibited by censorship, and there are such paintings that have become the personification of a new artistic revolutionary direction.
For example, “Bathing the Red Horse” - I myself am a bright work of the artist and it was she who was recognized throughout the world as the banner of the Soviet avant-garde.
But we have a completely different canvas, not so large-scale, but very characteristic and bright. Before us are simple men, workers. No matter where they work, the important thing is that they proudly wear this title. And here all the propaganda disappears and a canvas appears that is so mundane and mundane that many critics were slightly shocked. Take a closer look at their faces and shapes. All four are powerful, strong and strong-willed men, but different in character.
The two ahead are emotional. One tells something, and the other listens incredulously, slightly moving away from the narrator and looking at us with bewilderment. The other two in the background smoke and think about something of their own. Oh, if they knew how faces betray a way of thinking. One thought about something bright and even smiles slightly, or maybe eavesdrops on the conversation of the first two and laughs a little at them. But the fourth one was painfully cunning, he planned something and this is something clearly dirty and unpleasant.
The artist did not heroize his workers, as many of his colleagues did. He did not idealize them, as it was fashionable at that time. He simply showed four strong men with their textures and their real expressions on their faces. And not sleek and some through, too, pretty, like those of the same colleagues in the socialist-realistic style. It seemed to him that it would be more correct and more honest. And even truer. And that is precisely why this picture was not so often shown to the public.
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