Dozens of exhibited drawings were created by painters S. Chuykov (“Drawing,” 1963, canvas), G. Aitiev (“At the Monument to Mickiewicz,” 1959; “Gate to the Palace of Versailles,” 1964; marker; “Louvre,” 1965, marker), D. Fleckman (“Old Man,” 1971, charcoal; “Boy,” 1972, pastel), A. Ignatiev (“Street in Brașov (Romania),” 1973, marker; “Street in a Working District of Naples,” 1969), A. Usubaliev (“Girl with a Book,” 1970, canvas; “Damira,” 1970, canvas), B. Jumabaev (“Friends,” 1978, pen, ink; “Herdswomen,” 1981, ink), V. Gerasimov (“Builders,” 1972; series “State Planning is Being Built,” 1972; triptych “Youth,” 1983, canvas) and others.
In the drawings, alongside an interest in other graphic materials, young graphic artists T. Kurmanov (“Autumn Morning,” 1979, drawing 193; “Sadness,” 1983, pastel), K. Malenov (“Mother,” 1982, canvas; “Father,” 1982, canvas), A. Momunaliev (“Sunny Day,” 1982, canvas; “Uzgen Alley,” 1982, canvas; “Portrait of the Calf Keeper Begayim,” 1983, canvas), A. Biymyrzaev (“Tobacco Harvest,” 1982, canvas; “New Street,” 1983, canvas), U. Osmoev (“Builders,” 1982, canvas; “Uzgen Lane,” 1982, canvas), V. Bigday (“Noon,” 1983, canvas; “Alley,” 1983, canvas), N. Imanalieva (series of black watercolors “Window,” 1982—1983; “Sunday,” 1984), K. Shkurpela (“Rest,” 1983, charcoal; “Gulzhan,” 1983, charcoal), D. Chochunbaeva (“Spring,” 1983, canvas; “Portrait of Maken,” 1983, ink), G. Musabay (“Resting Horseman,” 1982, gouache) and others.
Many of the mentioned young graphic artists express, in their drawings, a personal relationship to the depicted subjects alongside a careful attitude towards traditions, affirming the traits of their own style. The growth of drawing culture and the overall high level of graphic craftsmanship is evidenced by the high percentage of participation of Kyrgyz artists in the Second All-Union Exhibition of Drawing (1985).
