It was accelerated by the adoption in April 1932 by the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks decree "On the Restructuring of Literary and Artistic Organizations", which, inter alia, provided for the dissolution of the existing literature and arts organizations and groups and the formation of a unified creative union, as well as the adoption in October 1932 by the All-Russian Central Executive Committee and the Council of People's Commissars decree "On [the] creation of the Academy of Arts."

[4] The Creation of the new school of painting of Leningrad raised many problems of art education in the post-revolutionary Academy, creating a subject for numerous books, magazines and newspaper articles.

It had then become a problem to create and define a particular Leningrad school of painting and art, as that would undermine the idea of the spirit of a union of soviet republics being united by the same core principles and cultural elements.

[14][15] Creativity by "the leading masters of the Leningrad and Moscow School of Painting" is included in the program of the entrance test for admission to art history in graduate of St. Petersburg State University.

[16] The Leningrad School pupils in the prewar and postwar years were well-known painters Evsey Moiseenko, Boris Ugarov, Yuri Neprintsev, Andrei Mylnikov, Alexander Laktionov, Mikhail Trufanov, Yuri Tulin, Vecheslav Zagonek, Piotr Alberti, Taisia Afonina, Evgenia Antipova, Sergei Babkov, Irina Baldina, Andrei Bantikov, Nikolai Baskakov, Leonid Baykov, Evgenia Baykova, Vsevolod Bazhenov, Yuri Belov, Piotr Belousov, Dmitry Belyaev, Zlata Bizova, Olga Bogaevskaya, Lev Bogomolets, Veniamin Borisov, Nikolai Brandt, Dmitry Buchkin, Lev Chegorovsky, Vladimir Chekalov, Nikolai Galakhov, Irina Getmanskaya, Ivan Godlevsky, Vasily Golubev, Tatiana Gorb, Vladimir Gorb, Elena Gorokhova, Abram Grushko, Irina Dobrekova, German Yegoshin, Oleg Eremeev, Alexei Eriomin, Sergei Frolov, Mikhail Kaneev, Yuri Khukhrov, Maya Kopitseva, Boris Korneev, Alexander Koroviakov, Victor Korovin, Elena Kostenko, Nikolai Kostrov, Anna Kostrova, Gevork Kotiantz, Mikhail Kozell, Engels Kozlov, Marina Kozlovskaya, Vladimir Krantz, Yaroslav Krestovsky, Valeria Larina, Anatoli Levitin, Boris Lavrenko, Ivan Lavsky, Piotr Litvinsky, Oleg Lomakin, Dmitry Maevsky, Gavriil Malish, Eugene Maltsev, Boris Maluev, Alexei Mozhaev, Valentina Monakhova, Nikolai Mukho, Mikhail Natarevich, Piotr Nazarov, Vera Nazina, Alexander Naumov, Anatoli Nenartovich, Samuil Nevelshtein, Yaroslav Nikolaev, Dmitry Oboznenko, Lev Orekhov, Sergei Osipov, Vecheslav Ovchinnikov, Vladimir Ovchinnikov, Victor Otiev, Filaret Pakun, Genrikh Pavlovsky, Varlen Pen, Boris Petrov, Nikolai Pozdneev, Evgeny Pozdniakov, Stepan Privedentsev, Alexander Pushnin, Semion Rotnitsky, Maria Rudnitskaya, Lev Russov, Galina Rumiantseva, Kapitolina Rumiantseva, Ivan Savenko, Vladimir Sakson, Gleb Savinov, Vladimir Seleznev, Alexander Semionov, Arseny Semionov, Joseph Serebriany, Yuri Shablikin, Boris Shamanov, Alexander Shmidt, Nadezhda Shteinmiller, Elena Skuin, Kim Slavin, Galina Smirnova, Alexander Sokolov, Alexander Stolbov, Alexander Tatarenko, German Tatarinov, Victor Teterin, Nikolai Timkov, Mikhail Tkachev, Leonid Tkachenko, Vitaly Tulenev, Ivan Varichev, Anatoli Vasiliev, Piotr Vasiliev, Valery Vatenin, Igor Veselkin, Nina Veselova, Rostislav Vovkushevsky, Lazar Yazgur, Ruben Zakharian, and many others.

[23] By they works the Leningrad artists have made a significant contribution to the national fine arts, the formation of the aesthetic views and the spiritual world of the modern generations.

The works of artists of the Leningrad school are well represented in the collections of major museums of Russia, forming the basis of funds domestic painting 1930–1980 period.

Its representatives were characterized by high artistic culture and the fact that, according to Nikolai Punin, can be called "a sense of the Leningrad painting ... with a sort of deeply honest, clean person deep relationship to the means of expression".

[25] At the same properties indicates another authoritative researcher Leo Mochalov in an article on the artist Shishmareva: "Predominant background of her work – rejection of constriction, the inner poise, tact, finally, understanding the nuances of the role – that without which no and can not be true art.

These qualities, as well as high professional culture, a thin, well-placed firmly taste associated Shishmareva art with the tradition of the Leningrad painting and graphics "school" of the 1920-1930s.

With regard to the painterly and plastic language and imagery, the Leningrad school kept to the traditions and general values common to European and Russian art.

Ideas of humanism professed by the artists, expressed the national character and the clarity of their culturally informed and quite traditional painterly language made their art highly relevant to the epoch and created a broad field for creative experiments.

Independent from public authorities and indifferent to ranks and awards, it had a greater influence on the assessment of an artist’s work and personality than official recognition and formal success.

Later, the influence of the Moscow school became more obvious in the works of those artists whose close co-operation with Moscow-based colleagues was complemented by the fact they were neighbors at the Academic Dacha.