"Construction of the Moscow Metro" (1930s) by Viktor Semenovich Klimashin captures the monumental drive to modernise Soviet society through labour. Created during the First Five-Year Plan—a period of unprecedented infrastructural development—this watercolour painting is set against the backdrop of Moscow's transformation, where construction sites became theatres of both physical and ideological achievement.

The composition demonstrates remarkable spatial sophistication through its dynamic arrangement of figures and architectural elements. Three workers occupy the foreground, their bodies twisted in concentrated effort as they manipulate industrial equipment. Klimashin employs a plunging perspective that draws the viewer's eye into the depths of the construction site, where structural forms emerge from abstracted washes of blue and grey. The artist's masterful handling of watercolour creates a sense of immediacy—wet-on-wet techniques allow colours to blend organically, whilst precise brushwork delineates mechanical elements with architectural accuracy. The workers' faces, though individualised, employ techniques that align with the emerging Socialist Realist aesthetic.

The painting's conceptual strength lies in its synthesis of documentary observation and ideological symbolism. Through careful orchestration of formal elements, Klimashin transforms mundane construction work into a heroic endeavour. The workers' poses suggest classical sculptural forms, whilst their engagement with modern machinery emphasises Soviet technological progress. The artist's handling of light—particularly in the ethereal blue passages, creates an almost supernatural atmosphere, elevating the scene beyond mere reportage. This interplay between realism and idealization reflects the broader artistic goal of the period: to present labour as both authentic and aspirational.

Viktor Semenovich Klimashin (1912-1960) was a significant figure in Soviet graphic art during a period of intense cultural transformation. Trained during the consolidation of Socialist Realism as the official artistic doctrine, he specialised in industrial and military subjects that captured the spirit of Soviet modernisation. His works were regularly featured in major state exhibitions throughout the 1930s and 1940s, including the landmark "Industry of Socialism" show in 1939. Today, his paintings and prints are held in the collections of the State Tretyakov Gallery, the Central Armed Forces Museum, and the State Russian Museum.