Harmoniously solved tasks by a team of painters.
In the first half of the 1960s, the team in Frunze created decorative compositions in the technique of sgraffito in the interiors of the cafes "Son-Kul" and "Yunost", the "Ala-Too" hotel, and reliefs made of foam concrete in the foyer of the "Oktyabr" cinema, which drew public attention to the tasks of artistic organization of the environment and the issues of new synthesis of plastic arts with architecture.
The beginning of the monumental-decorative art's emergence in the rural areas of the republic can be considered the tempera painting created by the team in the auditorium of the House of Culture in the collective farm named after V.I. Lenin in the Ton district in the Preissykul region.
In the works of A. Voronin, V. Kapustin, and V. Konstantinov, the difficulties of finding forms of interaction between visual art and typical architecture are reflected. In their search for means of new expressiveness, they, like many other monumentalists, rejected complex perspective, pictorially closed compositional structures, and began to create dynamic images not bound by the unity of plot, place, and time of action.
In their endeavors, they adhered to a simplified understanding of monumental art in an architectural situation, a rough, poster-like style of generalization, about which the outstanding Soviet artist P. P. Korin ironically remarked: "Flat means monumental, square shoulders mean a generalized image."
The works created by these authors are mainly of a decorative-design nature. They are characterized by a striking poster style, schematic forms that echo rather than oppose the dryness of architectural solutions.
The most significant and enduring of the works they created is the colored ceramic relief on the main facade of the building of the "Ala-Too" cinema, which was modernized during those years (1963) in the center of Frunze.
The panel is rhythmically arranged in the upper part of the spherically concave shape of the corner entrance to the low, horizontally elongated building. The image harmonizes with the architecture in scale, proportions, and rhythm. It consists of several generalized, separately composed figures and decorative-symbolic elements. Here, free labor, new life, and culture of Kyrgyzstan are embodied, as well as the first steps of the Soviet people in mastering space. The warm palette of the relief, dominated by reds and golds, enriches the volume and monochrome color of the concrete building, enhancing its emotional resonance in a small but crowded square.
This work, created on the eve of the 40th anniversary of the formation of the Kyrgyz SSR, still brings a festive mood to the exterior of one of the central cinemas in the capital. Alexander Fyodorovich Voronin (V. Kapustin and V. Konstantinov left the republic) worked mainly in subsequent years as part of creative teams (often as their leader) on the comprehensive artistic design of large public buildings (the "Kyrgyzstan" cinema in Moscow, the Kyrgyz Drama Theater in Frunze, the monument to those who died in the Great Patriotic War in the collective farm named after K. Marx in the Ton district, etc.). Several works of monumental painting created by him reveal his individual creative style. He is characterized by disciplined thought, a long-established desire for clarity and simplicity of form, which is usually abstract. His schematic, flat, restrained in color, almost monochrome compositions are subordinated to the logic of architectural solutions, without attempting to engage in more complex, dynamic interactions with them. Nevertheless, his works are competent, well-defined in compositional-plastic tasks, and exhibit rhythmic, spatial, and scale interactions with the architectural environment.
Among A. Voronin's monumental painting works is a tempera panel on the theme of petroglyphs in the conference hall of the Kyrgyz Historical Museum (1969), where the image is stylized after well-known examples of ancient rock drawings of Kyrgyzstan. The panel creates an emotional atmosphere of communication with the art of past generations of the inhabitants of the Kyrgyz land, contributing to the logic of perception of the museum's exhibition.
The soft-colored mosaic by Voronin has easily and almost imperceptibly entered the interior of the Kyrgyz State Museum of Fine Arts, placed on the wall of the stair landing and preceding the viewer's ascent to the exhibition halls. It appears as a quiet, harmoniously resolved decorative spot in color, not drawing the perception of the passing person into its space. Using forms and color relationships of national patterns, the solution for the curtain in the museum's conference hall, created according to the artist's sketch, embodies a festive and solemn mood in the interior.