Sidur specialized in monumental sculpture during the last Stalinist years. He was going to participate in the re-building of Moscow after World War II, but Stalin died in 1953, and in the mid-1950s he abandoned the Socialist Realist vocabulary that would form the style of the postwar revisions. The officials regarded his non-canonical art as formalist and pacifist, and therefore prevented him from exhibiting in Russia. Despite this prohibition, Sidur never left his native country.
The sculptor began to make drawings only after suffering a heart attack in 1961. In this work, he achieved a quality of sculptural volume on a flat surface. The monumentality and dynamism of ancient sculpture, which had fascinated Sidur since childhood, resonates. Perhaps because of his two encounters with death (the other, during WW II) his work typically addressed existential questions about life, death, and family. The three people represented here are graphically linked, evidently symbolizing the need for human support within a hostile social and political environment.