(1975), «Young mother» (1976), «Portrait of daughter Maral» (1976). Charitable activities Izzat Klychev successfully combined numerous charitable activities with his creativity. He remained the head of Artists Union of Turkmenistan for many years, and his direct active participation in young Turkmen artists' lives formed several generations of creative authors, among those, an outstanding informal community of the 1970s called "The Seven", widely recognized in Moscow, Russia and abroad. Since 1953, Klychev was a permanent participant of large all-Union, regional and international exhibitions. He also held a number of personal events in Moscow, Russia and Ashgabat, Turkmenistan, as well as in many foreign countries. Death The artist continued working up to the very last days of his life despite suffering from a long illness. His last monumental painting «Geoktepin battle» remains unfinished. He died on January 12, 2006. Creative period Periods and styles The 1960s is the time of Izzat Klycheva's formation and search for new ways in art. In 1967, the "Me and My Mother" and "My Turkmenia" painting series "Shearmen"(1964), "Desert" (1964), "Legend" (1964), "Beluji" (1965) were honored by receiving the USSR State Prize. Within the same period, Izzat Klychev was working on the «Day of Rejoicing» triptych – the first one in the history of Turkmen arts – that becomes a major occurrence in Soviet creativity. The artist demonstrates his new figurative language of open color, which consists of folklore traditions and "austere style" technique. This initiative becomes a basisin the further development of Turkmen visual art. Izzat Klychev's art is modern, not only because he chooses his material from the daily life, but also because it is rich with the spirit of time which is interweaved with national and international breakings. In the late 1960s to early 1970s, Izzat Klychev is especially prolific and this period is marked with the creation of the paintings «Tomorrow is a Holiday» (1972) and «Eastern Tune» (1976).During this period, Izzat Klycheva is rediscovering his beloved Turkmenistan, dedicating his talent to the portraits of ordinary people and cultural figures. The portraits of writer Berdy Kerbabayev (1969), Hydyr Deryayev (1977) and many others are unveiled during that time. Izzat Klychev's creative development features a special vision of Turkmen women, with his national women types gallery: «Mother» (1967), «Craftswomen» (1969), «Mother's Rejoice"(1967) «Young Turkmen girl» (1979), «Embroiderer» (1969), «Carpet maker» (1968), as well as widely known magnificent and inimitable images of women of Beluja