Painter, graphic artist and set designer. Master of compositions on architectural themes, landscapes, still lifes and portraits. Lentulov studied at the Penza and Kiev art schools (1897-1907) and at a private studio in St. Petersburg (1908-1910). From 1907, after becoming acquainted with N.I. Kulbin and M.F. Larionov, Lentulov became familiar with the latest European trends. In 1911–1912 in Paris, he studied at the studio of H.Le Fauconnier and at the La Palette Academy, where he experienced the diverse influences of Cubists, Le Fauconnier and Metzinger, and artists from the Puto group, such as P.Delauney, F.Leger, etc. Lentulov was one of the organisers of the Jack of Diamonds group (from 1910). A professor at the VHUTEMAS and a member on the IZO Narkomprosa board, as well as being one of the coordinators of the Society of Moscow Artists (1928). The uniqueness in Lentulov’s Cubo-Futurist painting method became structured following his stay in Paris (1911–1912). It was there that he came under the influence of French Cubism and Futurism, and in particular, P.Delauney who sought a correlation between colour and sound (Orphism). In 1913, on his return from Paris, Lentulov created his most famous paintings, architectural compositions, in which Cubist distortion, simultanism and Futurist dynamics were combined with picturesque colour and decorativeness, originating from folklore art and old Russian architecture (Basil the Blessed, 1913; "Bells", 1915; "Near the Chapel Of the Iberian Icon", 1916). In the spirit of the Jack of the Diamond’s hyperbolic impropriety, Lentulov created his self portrait. "Le Grand Peintre" in 1915, where he portrayed himself as a "great" artist. Lentulov had success not only in easel painting, but also in set design, where he doggedly realized the idea of painting as a theatrical performance. During the Soviet period he often worked in the landscape genre ("Sunset", 1928; "Ai Petri", 1926). Although he did not escape the influence of Socialist Realism, the master retained emotional intensity and expression in his use of colour, which clashed with the naturalist principles in his late works.