While Nadezhda Kashina was studying in VHUTEIN she was distinguished by uncommon feeling of colour, that was particularly inherited from her teachers — Robert Falk and Sergey Gerasimov. That’s why it is small wonder that Kashina moved to Uzbekistan — she moved to colours.
In 1928 she was sent to Tashkent by Glaviskusstvo. A year later she returned, but for personal reasons, and in 1930 she moved there for good and all. Even despite that fact that she had her creative and exhibition space in Moscow. She took part in the ROST and 13 group of artists, that were very popular at that time.
In Tashkent Kashina began a new life. From solving artistic problems only she went to researching a painting from nature. It may be possible that she was really interested in life and people of the new area a lot. But it is also possible that the reason of her moving was self-preservation — accusation in formalism at that time was equal to a death sentence. For example, a material to the work «A woman in kolkhoz is a great power» was gathered for a year: «You need to know the subject deeply to portray it truthfully… I moved my workshop to kolkhoz where I had been working for a year while researching the life of kolkhoz and working on nature».
That emphatic connection to life and social sharpness did not killed picturesque qualities of her canvases. Nowadays, no matter what the subject is, they attract our attention by colour and air transmission that bring Kashina together with impressionists.
The colour and laconic lines of Kashina’s posters are distinguished among other posters of «UzTAG windows». Kashina had been working on them from the first days of the World War II. She continued her work on posters successfully even after the war.