"Untitled IV" (1959) by Alexey Glebovich Smirnov represents a pivotal moment in Soviet artistic development during the Khrushchev Thaw. As intellectual circles began cautiously testing new freedoms, this pen drawing combines influences from Russian Constructivism, German Expressionism, and the resurgent Russian avant-garde tradition. The work epitomises the period's tension between official artistic doctrine and personal expression, reflecting broader cultural shifts as Soviet society gradually moved away from Stalinist orthodoxy.

The composition centres on a commanding portrait executed in bold, economical strokes, with the subject's distinctive features dominating the pictorial space. Smirnov employs subtle fragmentation of form, breaking down the facial structure into a series of intersecting planes that echo both constructivist principles and the linear precision of Russian icon drawing. The addition of gestural hands beneath the face creates a dual focal point, whilst the deliberate elongation of features serves to heighten psychological rather than physical presence. The geometric rendering of the spectacles becomes a metaphor for intellectual scrutiny, their circular forms providing a counterpoint to the angular treatment of facial planes.

The drawing's conceptual power lies in its representation of the Soviet intellectual during a period of cultural transformation. Through masterful control of line, Smirnov creates a portrait that suggests both strength and vulnerability - the figure's penetrating gaze and firmly set mouth conveying determination, whilst the fragmented treatment hints at inner complexity and doubt. The gestural hands, reminiscent of Egon Schiele's expressive anatomical studies, suggest both protective posture and philosophical gesture. This layered symbolism speaks to the precarious position of Soviet intellectuals who had to balance personal truth with political reality.

Alexey Glebovich Smirnov (1937–2009) came from a family of established Russian artists but carved out his own distinct path. His education at the Moscow State Academic Art Institute laid the groundwork for his later experimentation, which often challenged the boundaries of Soviet artistic conventions. Smirnov participated in numerous exhibitions both in the Soviet Union and internationally, including the 1959 and 1961 Moscow exhibitions of young artists, as well as notable shows in Florence, Zurich, and Barcelona. His work is held in the collections of the Tretyakov Gallery in Moscow, the State Russian Museum in St. Petersburg, the Pushkin Museum in Moscow, and the Ludwig Museum in Cologne.