1964 is the beginning of a particularly valuable “monochrome period”, when for the sake of silence and peace Krasnopevtsev muted the colors of the previously bright palette. This method had a striking effect. The rejection of shadows and garish colors, the utmost laconism and pictorial austerity allowed the artist to highlight the main thing in his still lifes — harmony, balance, the beauty of peace.

Kalinin is a man of the 1960s, an artist of unofficial art, close to the Lianozovo group. The artist was expelled from the Abramtsevo School for outrageous paintings presented at one of his first exhibitions. Later he was forced to work semi-underground. Kalinin was a participant of a resonant exhibition in the Beekeeping Pavilion at the VDNKh in 1975. And a year later, after the opening of the “city committee of graphics” on Malaya Gruzinskaya, he began to exhibit there as part of the “seven” with Krasnopevtsev, Nemukhin, Kharitonov and others.

Vyacheslav Kalinin is an artist of the legendary “Lianozovo group” — an informal community of like-minded people who gathered in the barracks of Evgeny Kropivnitsky and his son-in-law Oscar Rabin. Kalinin from the student's bench was excommunicated from the official exhibitions. The commission of the Moscow Union of Artists quickly identified “non-Soviet” mood of his work. However, such a life was destined to many original artists — apartment exhibitions, shows at physics institutes and in cafes.

Kalinin is an artist of the Lianozovo group, Nemukhin's neighbor in Priluki. Today he is a living legend of unofficial art, an original and recognizable artist, whose works are hunted by collectors. And in the 1960s, the authorities considered him a parasitic element, trying to get rid of him. Kalinin was expelled from the Abramtsevo school in 1961. His first exhibition at the Kurchatov Institute was closed almost immediately. In 1975, Kalinin was lucky to participate in the exhibition of unofficial artists in the pavilion “Beekeeping” at VDNKh. At the time of the “city committee” of graphic artists on Malaya Gruzinskaya he exhibited as part of the “seven” — a group of artists-innovators, which included Nemukhin, Krasnopevtsev, Vechtomov, Plavinsky, Kharitonov.

Calligraphic sign “Kalinin VV” — the signature of Vyacheslav Vasilievich Kalinin (1939) — is a valuable attribute for his paintings, but not a necessary one. It is impossible not to recognize, and even more so to confuse Kalinin with someone. Original, distinctive organic style of the artist has not changed since the early 1960s. Cubist chopped outlines, tracing the movement of figures and turns of faces, dense narrative plot — all this fills his paintings for more than sixty years. Kalinin himself has more than once admitted that all his life he paints his autobiography on canvases.

Conceptualism with a suprematist face. Igor Makarevich is one of the main figures of Moscow romantic conceptualism. He is a member of the famous art group “Collective Actions”, which was founded by Andrey Monastyrsky in 1976. Igor Makarevich has a special history of relations with Malevich and his philosophy of Suprematism. The conceptualist Makarevich explores the suprematist field in search of the “elixir of painting” — the magical component which animates pictorial matter.

Vyacheslav Kalinin , an artist of the 1960s, created his own very recognizable style, which has been called “carnivalism” — from the word carnival. Very aptly. Kalinin's characters are almost always fun. The regulars in his paintings are broken ladies, drunkards, and cheerful artist friends. His works are very moody, phantasmagoric, with elements of cubist deconstruction. And “A beer bar in Serpukhov” — a model example of the genre. A large, powerful painting. Published. The main theme. A jewel in the collection.

Vyacheslav Kalinin is an artist of the Lianozovo circle. Since the early 1960s, he visited Kropivnitsky and Rabin, communicated with a circle of like-minded people. The first meeting with official art ended in a scandal. In 1962, after showing Kalinin's paintings on a commission at the Moscow Union of Artists, he was expelled from the Abramtsevo school. His first exhibition at the Kurchatov Institute in 1963 (physicists were allowed a little more) was closed on the second day. In general, the normal path of an independent artist in the USSR. The MOSKh commission, after all, saw through him in time — “a non-Soviet man.”

“Dmitry Alexandrovich Prigov” — exactly so, with full patronymic — this is not just a name, but the name of a long-term art project, in the center of which stood this man-orchestra. Prigov is an avant-garde artist, a key figure in Moscow conceptualism, a poet, artist, sculptor and performance artist. In the summer of 2007, on the day when he had a heart attack, he was supposed to participate in the next performance. His followers from the group “War” were planning to put Prigov in a Soviet closet and take him up the stairs to the 22nd floor of the Moscow State University dormitory during the day to read his poems.