Abstract
<jats:p>The article explores the phenomenon of “private graphics” as an alternative movement in Soviet art of the 1920s-1930s. This term refers to chamber-style (intimate) works that were less susceptible to ideological influence, wherein the artist’s individual vision was revealed through specific artistic media. This created a unique dialogue between the artist, the model, and the viewer, deepening the psychological depth of the image. The aim of the study is to identify the specificity of the representation of the female image in the “private graphics” of Soviet artists of the 1920s-1930s. The scientific novelty of the work lies in introducing the concept of “private graphics” into scholarly discourse and providing a comprehensive analysis of this phenomenon within the graphic works of Soviet artists of the 1920s-1930s. The study identifies key characteristics of this concept: an intimate scale of execution, psychological insight, the rejection of heroization, and a focus on everyday life, while also reflecting its evolution. The main results include the systematization of artistic strategies for representing the female image: identifying specific features of “private graphics”, analyzing the individual creative methods of the masters under study, and demonstrating the evolution of graphic techniques. A comparative analysis is conducted on the creative heritage of “private graphics” by artists residing in the USSR – A. Drevin, P. V. Miturich, G. G. Likman, A. A. Leporskaya – and the émigré artist S. A. Sorin.</jats:p>