«..When I was conceiving of the painting «The commissar» I was puzzled by the abundance of historical material what resulted in that the sketches became overly detailed. The listening fighters tightly encircled the speaking commissar; the composition had many spatial plans – the station, the steam train, the steam, the water-tower. The illustrative nature of all these details led me away from creating emotionally tense and psychologically deep atmosphere. I acutely sensed the need to go on with my search.

In the last sketch which became a basis for the final version of the composition I removed the figures of the listening fighters. The commissar and his companions were standing now against the door of a carriage stuck with posters. The call of a commissar was addressed to a spectator now. What happened was exactly what I needed – the figure of the commissar became more significant. Then I gave up the idea to show the features of time such as the train and the water-tower. Thus the space became more confined and flat. It had also helped to amplify the figures. I also chose to use the restrained color palette which consisted mostly of red, black and earth-green. However, the plastic of forms, silhouette and rhythm were yet incomplete in the sketch. Seemed like, I had to keep on working on it but I haven’t done that and commenced my work on the canvas instead.

As I worked the composition changed crucially several times – the main figure of the commissar became more passionate and more dynamic. The group of his companions yet remained too documentary narrative so I went on removing further details such as a billowing flag and an arm-band on a fighter’s arm. I painted some figures right onto the canvas. Then I realized that the restrained colors I used before had to be amplified because I had incorporated the famous poster of that times by Moor «Have You Signed Up as a Volunteer? » into the composition. I believe that decorative power of color is one of the strongest means that influences emotions of a spectator. I became firmly convinced that it’s true after I studied ancient Russian orthodox icons, early Renaissance, works by Petrov-Vodkin, a famous Russian painter of the early 20th century and a lubok, a Russian popular print.

To create a figure of a commissar was the most challenging and torturous part. I wanted him to be down to earth, concentrated, and warm. I changed his image several times. In the beginning he was young and fussy, whereas I wanted to show somebody passionately taken by the idea of revolution and full of belief in his future success. Only when I amplified individual features, changed the angle and put his face into a front position I was able to attain that expression I needed».

Vyacheslav Tokarev, «Tvorchestvo» magazin, №11, 1973