"Charming lovely drawings of Lviv...", — wrote a critic on the works is still very young author. AI Auction put on canvas already a Mature artist, with a developed creative style and a unique sense of freedom

Peter Ivanovich Lvov was born in 1882 in Tobolsk.

Talking about the exhibition "World of art", which was held in 1916 in St. Petersburg, famous art critic and connoisseur of art Nikolay Punin drew attention to the work of the young artist Petr Lvov: "the Enchanting charm of Lviv of drawings I don't want to explain any method of the artist, nor even any style — it's all in the attitude and in love, but I must point out that this authentic live talent is one of the first opened a path to intimate and free work non-impressionistic character... Even sun spots in a sunlit room, he managed to convey the purest form without play of light and shade. Pictures of Lviv is so full in its texture, the pencil did what he could do in the hands of Lviv and its art organizations — hidden great craftsmanship, great school!" (N. N. Puning. Drawings of several "young"// the Apollo, 1916. No. 4-5. P.5).

is Especially valuable Nikolay Punin considered the very manner of Lviv, which was absolutely no affectation, gloss, and every narrative.

in Lviv, studied at the Moscow school of painting, sculpture and architecture under S. Korovin, V. N. Baksheev, S. V. Ivanov (1898-1904), then at St. Petersburg Higher art school at the Imperial Academy of arts from D. N. Kardovsky, N. S. Samokish, in the Studio of F. A. Roubaud. Attended a private Studio of J. F. Tsionglinskogo.

As recalled by the artist himself, the greatest impression on him made Ian F. Tsionglinsky, painting which, like all teaching, painted a bright emotionality and sincerity. It has always attracted students to him, among whom were E. E. Lansere, I. Y. Bilibin, M. V. Matyushin, E. G. Guro, L. Bruni and P. N. Filonov, etc. part of the workshop took the piano, which during the class Tsionglinskiy played Chopin, Schumann or Liszt, believing that music contributes to the perception of the most subtle colorful hues. (M. Gurinovich. Ian Tsionglinskiy: Peterbugsky painter with the heart of Chopin's // Our Heritage, 2008. № 86).

Perhaps this approach to teaching has left a trace in soul of the young struggling artist whom the press later will always be characterized as "an artist of high purity and sincerity".

In his memoirs, the lions celebrates the impact that it has had the creativity of certain artists, in particular Corot and Pissarro: "He [Corot] "Gust of wind" and "Sandy terrain" for a long time fixed in my artistic consciousness, for I was particularly struck by the peculiar texture and great finesse transmission Pissarro his "Street Opera," which I first saw at the exhibition of paintings of the then Moscow collector Brocard" (RGALI, f. 681, op. 1, ed. KHR.1492).

Another source, which is no less strong influence on the artist, was the work of French-импрессионистов, which he was able to study with the assistance of a companion from Moscow School of painting the painter Mikhail Larionov, who had access to the collections of Shchukin and Morozov, in those years not yet open to the public: "is Particularly etched in these meetings the work of Renoir and "self-Portrait" Cezanne" (RGALI, f. 681, op. 1, ed. KHR.1492).

From 1924 to 1928 the lions lived and worked in Moscow. He was invited to teach at VKhUTEMAS-ВХУТЕИНе and received housing invhutemasa house on Myasnitskaya, 21. Over the years, the residents of the "home STUDY" were the poets Nikolai Aseev and Alexei Kruchenykh; artists Leonid Pasternak, Lev Bruni, Vladimir Tatlin, graphics Vladimir Favorsky and Petr Miturich...

With the latest lions were very close, and in 2010, the Kovcheg gallery showed an exhibition devoted to the work of Peter Miturich and Peter Lvov, with the telling title "Neighbors". "My lovely neighbors Lions, with whom I often spent time, — would later write P. Miturich in the memories. — we Have Peter Ivanovich was a common interest and ongoing debate on art". The apartment on the ninth floor was converted into a workshop course; lions family lived behind the wall. Sometimes Miturich pounded his fist into the wall and shouted: "Peter Ivanovich, come to drink tea!" Then the lions had to go down the street, around the yard enclosure and climb to the ninth floor. However, the opposite is happening. "Yesterday I was fed (at the Lvov family), then we draw an Opera singer, and then came Istomin and took me to the circus", — will write Miturich in a letter to his wife Vera Khlebnikova in 1926 (seekovcheg-art.ru).

Often from the window of his apartment on Myasnitskaya the artist observed the life of the city, using the motif of the roofs of Moscow streets and alleys in his paintings. In these years appeared a new look at the urban landscape that was at odds with the tradition of St. Petersburg.

many of the landscapes of this period were characterized by a diagonal angle, as if inviting the viewer into the space to go into it like behind the scenes. In the artist's landscapes, as a rule, there is no division between the visual and the background, each fragment of the surface participates in creating the environment. Plastically-живописная texture pattern, tonal unity and strict restraint color — characterize the paintings of the masters of this time. ("View of the "House of Russia"", 1924-1928; "Views Christmas street", 1924-1928; "Moscow. Myasnitskaya street", 1928).

The Canvas "Roof. The VKhUTEMAS and the post office" draws attention to the monumentality of the image, the generalization of form and undisguised admiration for the city. Quick, easy brushwork close musical associations. The work was exhibited at the personal exhibition of the master in Leningrad in 1989.

he Died Pyotr Lvov to Perm (then bearing the name of Molotov) in 1944.

Alexei Smirnov, specifically for AI