which became a place of pilgrimage for artists. In his work he turned to the theme of war ("The General" and "Garcia Lorca"), to mythological themes ("Leda", "Leda and the Swan", "Venus in the Grotto" and "The Rape of Europa"'), painted paintings based on folk takes ("The golden cockerel", "Little red riding-hood and the grey wolf"), and also paintings such as "Football", "Lena's dance", "Masks (City)", "Once in Sverdlovsk", "Yu. A. Gagarin" and many others". In 1968 Brusilovsky became a member of the Union of Artists of the USSR. In 1969, working in collaboration with Gennady Mosin, he painted "Civil War Red commanders in the Urals", which depicted Blyukher, Frunze, Chapaev and other Red commanders in the Civil War in the Urals. The painting was displayed at the third regional "Socialist Ural" art exhibition in Chelyabinsk and caused a lot of debates because the style of the painting was very different from Socialist Realism. In 1972 Brusilovsky finished work on the painting "The Arkady Raikin Theatre", which was judged anti-Soviet. Because she acquired the painting for the Sverdlovsk Art Workers' House, the artistic director of the house Tatiana Nabrosova, Misha Brusilovsky's future wife, was called in to the KGB for questioning. In 1976 Brusilovsky jointed the artists' group of the Ural Engineering Plant factory (Uralmash) consisting of 28 painters, graphic artists and sculptors. In 1977 he painted the commissioned work "Group portrait of Uralmash team of smiths (B. Shulenov, K. Le, A. Kordukov: foreman, A. Moskvin, V. Venchinov, I. Bersenev, V. Erer)", which was included in the retrospective publication Artists and Uralmash" in 1983. In 1984 he painted "Golubskovsky sovkhoz" ("Pig-breeding farm in the Golubskovsky sovkhoz"), which caused another scandal. In this way the museum acquired Mikhail Brusilovsky's wonderful canvas "Pig-breeding farm in the Golubskovsky sovkhoz", where the little artist looks shyly up at shapely milkmaids. The painting caused a huge scandal in its time: communists from the Union of Artists reproached the artist for using a traditional composition, instead of an infant putting a pig into the arms of its Madonna. Boris Yeltsin, who held the role of first secretary of the Sverdlovsk branch of the Communist Party at the time, publicly declared that the painting was harmful to Soviet art. Paris: Basmadjan Gallery When Perestroika began in the Soviet Union, democratic reforms began, and the party organs stopped interfering in the creative process of artists, writers and other