In the late 1930s, at the request of architect A.V. Shchusev, Mukhina created a number of sketches of one-, two- and three-figure compositions for the Moskvoretsky bridge that was being rebuilt. The sculptor made sure that the figures did not block the river vista and view on the Kremlin, but were still easily seen from a long distance. The sketches, however, were never materialised. It was just one composition, Bread, that Mukhina made in large for the exhibition Food Industry in 1939. The art work is allegorical. The compositions meant for the Moskvoretsky bridge personified the Sea, the Earth and Fertility. Two girls with sheaves are seen as an allegory of fertility. The sculptor creates a bold composition with a large spatial caesura inside, clear-cut architectonics and closed circular motion, thanks to which it would perfectly fit into an open space. Among Mukhina's other monumental works, this sculpture is noted for its classical clarity and harmony; it emphasises not the heroic effort of will but the natural grace of movements.
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