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Evgeny Chubarov was born in the village of Nizhneye Bobino in on 11 December 1934. He almost didn’t go to school, working on a pasturing colts as a teenager. His passion for appeared in childhood, partly under the influence of his father. In his youth, Chubarov wanted to have a prestigious profession, so went to his uncle’s house in to study to become an engraver at a there. After graduating from the school, Chubarov entered the army and served five years in the. 1950s–60s [ ] In 1959, Chubarov went to and then to Zagorsk (now ), where he worked at the restoration studio of the sculptor Dmitry Tsaplin. In 1961, he married Lyudmila Gukovich, a who worked in.

They lived in rented rooms that they had found by chance. In 1963, his paintings March and Factory Landscape (views of the ) appeared at an exhibition of young artists in Moscow. Factory Landscape was published in magazine just a few months after, the First Secretary of the Central Committee of the Communist Party of the Soviet Union, had criticized artists who were focused on the European avant-garde. During these years, Chubarov conceived a passion for creating. He got the material he needed thanks to useful contacts with an engineer from a brick factory in Zagorsk.

According to his wife's memoirs, the works were life-size portraits that resembled photos of the victims of. [ ] The paintings and graphics of the 60s clearly show Chubarov's interest in, both physical and psychological. An example is the 1969 canvas where a woman sits on a man's lap. The man's head is a dark green square with carelessly scribbled eyes and a mouth. The treatment of male characters as geometric shadows can be found in other works of that period. Chubarov understood the male as an impersonal work in progress.

It is the basic stage of production of subconscious impulses. [ ] 1970s–80s [ ] In the 1970s and 1980s, Chubarov moved from simple compositions towards a new interpretation of the relationship between painting and the body. He created his famous series of powerful multi-figure ink compositions on paper. Compositionally, his work inherits by (1515–1516), the of in his Faces of Russia (1920–30s) and analytical experiments. If Chubarov had previously painted some characters in easily readable relations, in the 70s and 80s, he created situations with maximum tightness and filled the canvas with more and more faces and bodies that were rarely bound by a common storyline.

In Fight (1982), Chubarov equates the surface of the canvas to the body and skin, erasing the border between the figurative and the body. Later, that understanding of the surface of the canvas propelled him to the ultimate objectlessness. The motives of Fight would remain throughout the artist’s period of pure and would move into many of his drawings. Other paintings of the 1980s are full of references to hidden and demonstrative —from the image of a to characters with chopped-off limbs or signs of on their faces. For several decades, Chubarov had been working on a series of stone sculptures. At the Sculpture Park in Moscow, there is a composition consisting of 283 stone heads.

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The heads form a separate wall covered with bars; the structure, as well as the meaning of the work—a monument to victims of Stalinist repression—did not originate with the artist. It was created by the park administration, which accepted these sculptures as a gift in the mid-1990s. In 1986, Chubarov was admitted to the. Years abroad [ ] The Soviet part of Chubarov’s biography is not so rich in external events, and there is no evidence that the artist tried to become part of the. His name did not appear on the list of those artists who tried to exhibit independently. At the invitation of art dealer, he traveled to and, where his style underwent its last transformation.

Chubarov moved from to pure and succeeded. He was awarded a grant and participated in exhibitions on equal footing with the greatest artists of the post-war generation. Chubarov came to abstraction at the moment when it stopped being a political gesture of emancipation from the formal requirements of art. Such a late step beyond the narrative art emphasizes his internal independence from the artistic context he had to work in. Chubarov managed to concentrate on the painstaking creation of non-figurative painting primarily as a thing, an object in different dimensions, from the ornamental to the psychological. Chubarov considered himself an heir of the Russian 'archaic' culture, drawing a parallel between his technique and the ideas of 's.