[2] The painting is laconic, devoid of attributes of external action, but, according to Soviet art historians, successfully and truthfully revealed through a domestic episode of the era of revolutionary upheaval.

Important Soviet art experts like Ivan Astakhov, Sofia Korovkovich, and Andrey Lebedev looked closely at the painting's idea, how it was put together, and its use of color.

[6] Doctor of Art History Svetlana Chervonnaya, on the contrary, emphasized the heroism and self-confidence of the figures in the painting, calling them heroes of the new world.

[6] Andrey Lebedev, a doctor of art history, noted that Vladimir Serov's work was generally characterized by a return to the same theme, a desire to solve it more deeply and in a new way.

After a smoke break... brutal, bloody battles began again".When the artist decided to make a new painting about the October Uprising, he went to the Hermitage Museum in Leningrad on a day off.

Andrey Lebedev also mentions the existence of the 1965 study Jordan Staircase of the Winter Palace (canvas, oil paint, 81 x 75.5 cm).

[10] At the same time, the writer Ivan Shevtsov wrote in a letter to Sergey Sergeyev-Tsensky about the underestimation of the canvas in the conditions of the dramatically changed political situation in the country: "Lenin prizes could have been awarded to the artist Vladimir Serov for the painting Winter Palace Taken!

Lavrenyov noted the one and a half square meters of Kazantsev's painting, the "ostentatious" technical skill of its author, but pointed out the artist's shallow and superficial solution of the theme.

Lavrenyov believed that they had nothing in common with the disciplined and conscientious fighters of the Baltic Fleet shock troops who stormed the Winter Palace.

[27] Lavrenyov wrote that the small size of Vladimir Serov's painting proves that it is not necessary to create an enormous canvas to reflect the significance of an historical event.

According to Lavrenyov, Serov's canvas, in contrast to Kazantsev's work, demonstrates "economy" of pictorial means, "rigor" in the interpretation of the event, and "accuracy" in the depiction of historical details.

[27] The artist found "a simple, but very expressive, generalizing type for two characters in the picture — a front-line soldier and an armed worker", managed to create the necessary background for them — "the lobby's dimension, marble and gold painted in cold tones, lying on the steps of the shell casings.

In her paintings Astakhov emphasized "the absence of pose, pathos, exaltation", "simplicity, humanity, naturalness of feeling, which penetrate the appearance of heroes who have accomplished a feat".

His analysis of Vladimir Serov's painting in the book Art and the Problem of the Beautiful ended with the demand to the Soviet artists of the 1960s to bring out just such personal features and qualities in the participants of the construction of the communist society.

[30] The Soviet art historian Marina Orlova wrote that the canvas is characterized by integrity, "the general restrained tonality" and every detail serves to reveal the artist's intention inherent in the plot.

[32] The Soviet art historian Lilia Bolshakova noted that the solution to a theme of "great historical significance" was "simple, modest and vitally true".

[33] Andrey Lebedev considered the artist's success in uniting the two main figures of the picture to be the gesture — the Red Guard gives the soldier a light.

It shows, in his words, "the situation of battle friendship and mutual cordiality of these people, and as if growing into an expression of a strong union, brotherhood of the two main working classes of revolutionary Russia".

[35]Doctor of art history Sofia Korovovich pointed out that Vladimir Serov's interpretation of the events of the October Armed Uprising (i.e. the subject of the painting) was not new or unique.

He also depicted the top of the Jordan Stairs, where a revolutionary sailor, an armed worker, a soldier squatting on the steps, and many other participants of the already victorious uprising were sitting.

Korovkovich saw in him a representative of the poorest peasantry, interpreted in Soviet historiography as the main ally of the proletariat in the struggle for the victory of the socialist revolution.

The domestic episode of the rest of the two heroes of the storming of the Winter Palace, in his opinion, expresses the unshakable confidence of the common people of Russia in the historical fact of the victory of the workers in the confrontation with the enemies of the soviets.

[39] In 1981 the People's Artist of the RSFSR Anatoly Paramonov and the Doctor of Art History Svetlana Chervonnaya published the manual Soviet Painting: A book for teachers.

was characterized as capturing "a slice of life from the unforgettable year of 1917," and the book argued that in an insignificant episode depicted on the canvas, "the enormous power of historical generalization is concentrated".

In order to increase the effect of participation, according to the idea of the creators of the performance, school pupils dressed in the costumes of the Red Guards and soldiers from Serov's painting run through the hall to the stage with a banner and rifles in their hands.

[43] Candidate of Historical Sciences Larisa Kashuk, analyzing the work of Soviet and contemporary Russian nonconformist artist Anatoly Brusilovsky, wrote that in the 1970s he used a cut-out fragment of a reproduction of the painting Winter Palace Taken!

Around it, according to the principles of Russian medieval iconographic stamps, episodes from the same painting by Serov were placed, interspersed with figures from pre-revolutionary fashion magazines.

[44] Gerb Freikopf, a student of art history, in his monograph Eleven or the Constellation of Tau Kita called Vladimir Serov a maestro of socialist realism.

[46] Brandon Taylor provided a reproduction of this painting and mentioned it in the text of Modernism, Postmodernism, Realism: A Critical Perspective on the Development of Art.

[47] Toby Clark, in his 1997 book Perspectives on Art and Propaganda in the 20th Century, gave an illustration of Serov's work and briefly recounted the subject of the painting.