In the iconography of Pavel Petrovich Bazhov, the portrait by the Tula artist Seraphim Sergeyevich Chudakov occupies an honorable place. The artist, who was commissioned by Bazhov’s daughters, created several almost identical sketches on paper using pastels during the writer’s lifetime. Several years after Bazhov’s death, Chudakov also created an oil portrait, which is now presented in the dining room of the House-Museum.

The last years of Pavel Petrovich’s life, this spot housed another painting by Alexander Paramonov. Bazhov wrote about him in his letters, joking about his beard:

Initially, Paramonov drew a pencil portrait of Bazhov for the celebratory issue of the “Peasant Newspaper” from May 22, 1924, and then, two years later, he made a watercolor one.

Alexander Nikitich Paramonov (1874–1949) was an artist, poster designer and employee of the “Ural Regional Peasant Newspaper”, in which he worked in the 1920s together with Bazhov, who headed the department of peasant letters.

Evidently, Bazhov loved the portraits made by his old friend and colleague. Pavel Petrovich wrote to friends.

The portraits by Tatiana Partina, Vasily Rozhdestvensky, the above-mentioned Julius Bershadsky, Anatoly Yar-Kravchenko, Nikolai Razdrogin are considered classic among Bazhov’s images. They all were made using various painting techniques in the 1930s and 1940s.

It is also known that Vasily Vasilyevich Kamensky, a prominent avant-garde poet, artist, and aviator, met Bazhov in Perm in 1943 at the apartment of the Ural local historian and chairman of the city executive committee Alexander Schwartz and began working on Bazhov’s portrait, which was never completed.