Alexander Matveyev (1878-1960) was an outstanding Russian Soviet sculptor and talented teacher who formed the neoclassical school of Russian sculpture. The amazing integrity and consistency of the master’s creative searches led him to the creation of the clearest and most precise plastic system, distinguished by the striking stylistic unity of the artistic language, internal content, and emotional structure of his images. At the same time, the sculptor’s plastic system was initially devoid of any compromise - it very quickly acquired the features of a qualitatively new phenomenon. While preserving the achievements of impressionism in developing the problem of interaction between sculpture and the light and air environment, Matveyev constantly paid great attention to direct work with material. Alexander Matveyev’s creative work is typologically exceptionally diverse. In monumental and decorative plastic art, the master made a name for himself when designing the Golden Fleece Salon exhibition back in 1902. He also gained experience in the genre of portrait bust, two-figure composition, and relief of various types. Internally, his creative method was determined by the figurative and poetic structure that is so characteristic of Matveyev's works and, in general, of the masters of his circle. It was these characteristics of the sculptor's talent that allowed him to say a fundamentally new word in the sphere of synthesis of sculpture and the enclosing landscape - both urban and natural, both in the sphere of symbolic composition and in the genre of tombstones. The tombstone of his friend and mentor, Viktor Borisov-Musatov, the outstanding painter of the early 20th century, was a true masterpiece of this genre and truly innovative in its figurative structure. His ensemble of New Kuchuk-Koy became an especially outstanding achievement in park sculpture new spatial design. In these compositions, the sculptor practically developed a fundamentally new language of park sculpture and achieved an amazing unity of his creations with the surrounding natural and architectural landscape. The monumental group October and the project of the monument to the soldiers of the Far Eastern Army in Dauriya demonstrate the process of evolution of the master’s own style along the line of developing an increasingly laconic design and moving away from attaching details to a general form and symbolic expressiveness of sculptures. At the same time, Alexander Matveyev’s legacy consists of a huge number of sketches of unrealised monuments to V. Lenin, M. Gorky, M. Lermontov, A. Chekhov, and others.