The association included painters and graphic artists, sculptors and architects, as a rule, belonging to the older generation, so all members of the association were characterised by high professional skill, precisely worked out image structure and expressiveness, the ability to use the accumulated experience in application to new tasks set by modern art and urban planning.
Significant works: Petrov-Vodkin (After the Battle, 1923; Girl at the Window, 1928; Anxiety, 1935, Death of a Commissar, 1928), Kuznetsov (Construction of Yerevan, 1931; Sorting Cotton, 1931; Processing Tuff, 1931; Gathering Tea, 1928).
<...> ...Not perceiving the new life and unwilling to speak frankly about their true ideals, artists ‘4 Arts’ are forced to limit themselves to either lyrical allusions or objectlessness.
<...> It is very characteristic that even ... and in them (landscapes) they began to limit themselves to half-hints of a formal-aesthetic order, the meaning of which is accessible to very sophisticated amateur aesthetes.
What is suitable for artists who protect themselves from Soviet influences and who have been brewing for years among the nobility and landlord class and who preserve all the signs of the art of this decayed class is not suitable for the broader Soviet public, which is fighting against individualism in literature and art and its harmful influence on the younger generation of artists.