Lentulov’s art is characterised by an expressive use of colour and a dynamic fragmentation of the landscape and architectural elements. The artist was influenced by the simplicity of traditional Russian art, as well as by cubism and French artists, especially Le Fauconnier.
The two first influences converge in one of his favourite subjects, Russian churches. His interest in religious architecture developed throughout his career and helped shape his rhythmic approach to landscape. The energetic use of complex volumes and the daring colour scheme in Lakeshore illustrate Cézanne’s influence on Lentulov. The skill with which he depicts the reflection of the landscape in the still waters of the lake is particularly remarkable.
Lentulov left the Penza Art School in 1900, shortly after enrolling, due to a quarrel with a teacher. He registered as an auditor at the Art School of Kiev but was expelled for absenteeism, and returned to the Art School in Penza. From 1905 to 1910 he studied under D. Kardovsky in Saint Petersburg. In 1911–1912, he attended the classes of Le Fauconnier and Metzinger at the Académie de La Palette in Paris.
Around the same time he helped organise and participated in an exhibition of the Knave of Diamonds group with Konchalovsky, Machkov and Robert Falk. Lentulov’s work, though highly variable, remained deeply rooted in Russian tradition. He was at heart a colourist, an inclination which grew even more pronounced after he discovered Matisse. The impressionist style of his early works gave way to a Cezannian period, followed by futurist dynamism. After 1917 he reverted to painting in a colourful expressionist style. From 1920, however, he complied with guidelines dictated by the Soviet cultural establishment, although they were in total opposition to his career until then, during which he had proved himself to be one of the most experimental Russian artists of his time.
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