Some art historians (in particular, Nikita Voronov (1924-2002), one of the most famous historians of the Soviet sculpture) separated the monuments of Labour into a distinct group of monumental art objects. Generally, the tendency to synthesis monumental art with architecture and other arts did not touch this group — almost all of the artworks were single figures representing a separate profession. A striking example of this group is the monument to the Glory of Mining Work by Kostiantyn Rakytianskyi and Pavlo Vіhderhauz depicting a miner who holds a piece of coal in his right hand (installed in Donetsk in 1967).
Sculptures in the village of Raiky, dedicated to collective farm workers, can also be associated with the group of Labour monuments. Authors, the names of which researchers have not yet identified, gave the female figure an attribute — a bulwark of wheat —which allows you to establish her field of activity. The monument is set up behind the field, indicating that the artists have taken into account the overall terrain landscape. Concrete was one of the most widespread materials used for decoration of the premises and sculpture moulding in the early 20th century. For example, sculptures of the House with Chimaeras on Bankova street in Kyiv are also made of concrete. Concrete for objects of monumental art consists of portland cement and fillers (sand, marble crumb and water). For the formation of sculptures, the concrete mixture was poured into gypsum forms, the quality of which largely defined the durability of the artworks. The concrete of sculptural factories of the Art Fund of the USSR differed in the technology of its production. There were at least two factories in Ukraine with different approaches to it — Kyiv and Lviv. Concrete (except liquid white cement) has a limited decorative potential due to the fact that colouring of the material by pigmentation is possible only in three colours: dark brown, dark grey and black. The carving of such small elements as folds of fabric, which provided sculptures in the village of Raiky expressiveness and realism, was carried out with percussion instruments — with a steel bit and a boaster.