Natural and compositional drawing is a subject of close attention from R. Nudel, a multifaceted artist who is constantly evolving. In the 1950s, due to serious work on industrial themes in watercolor, he created a multitude of landscape and interior drawings in pencil, in which he aimed to aesthetically comprehend the achievements of the technical age in Kyrgyzstan ("Evening Rhythms" from the series "Everyday Life of the Capital," 1970, drawing 198; "Factory Workshop," 1973; "Foundry Workshop," 1977). In the second half of the 1970s and in the 1980s, Nudel complicated the compositional and plastic tasks in his drawings, striving for the concise expressiveness of large forms ("Still Life with a Plane," 1976; "Mountains of Kadzhisay," 1976; "In the Workshop," 1977; "Mountains," 1977; "Overpass," 1980). Recently, Nudel's attention as a draftsman has focused on the image of a person ("Portrait of the Poet Eraliyev," 1980; "Portrait of Sasha Dmitriev, Electric Mechanic of Mine No. 2, Haidarkan," 1981; "Portrait of Corresponding Member of the Academy of Sciences of the Kyrgyz SSR V.M. Ploskih," 1984; "Portrait of the President of the Academy of Sciences of the Kyrgyz SSR, Academician Imanaliev M.I.," 1984; "Portrait of the Vice President of the Academy of Sciences of the Kyrgyz SSR Alimov O.D.," 1984; "Portrait of the Artist Ostashev A.S.," 1985). The mentioned works are endowed with broad, resonant forms with a decisive contour line, large strokes, and the activity of white color, which creates images of people with vibrant character.
