Alexei Pakhomov

Due to the October Revolution and the Russian Civil War, Pakhomov's studies were drawn out until 1925, when he graduated from Vkhutemas.

While he also created some colorful, renowned easel paintings, his primary focus was on depicting picturesque childhood scenes of peasant children.

In the 1920s, Pakhomov conducted trips to Young Pioneer summer camps, where he studied children's special plasticity and expressions in natural surroundings.

Subsequently, he collaborated with magazines such as Chizh and Ezh, as well as authors like E. L. Schwartz, S. Marshak, and G. Krutov, creating illustrations for their children's books.

[2] In the first half of the 1930s, Pakhomov found himself in a difficult situation given the Soviet Union's narrowing official view of art and campaign against "formalism".

His paintings, in which half-naked young men and women tan in the sun, were the object of severe criticism.

[citation needed] The Russian Institute of Blood Transfusions asked him to cooperate, where he met Vladimir Konashevich, V. Dvorakovsky, and Dmitry Mitrokhin.

[citation needed] Between 1944 and 1947, Pakhomov worked on the series In Our City, in which the artist strove to reflect the grand scale of the postwar effort to rebuild ruined Leningrad and to reinstate its formerly vibrant life.

The presence of female workers in every traditionally male trade is a reminder of the recent war, which killed millions of Russians.