The article considers a number of sculptural objects, namely, decorative monuments, park monuments, as well as temporary sculptures meant for agitation that appeared in the 1930s Urals and were united by the motif of “armed guards”. Referring to I. D. Shadr’s call to make Soviet sculpture a model of profound psychologism, the author attempts to determine whether this task was successfully implemented. The eminent masters of the epoch attained psychologism by means of crossing the existing social realist boundaries, thus emphasizing their negative role for the development of art. However, at times self-made artists that did not have the required professional skills and sincerely followed the norms of socialist realism unwillingly happened to demonstrate certain psychologism in their works too.