"Today we see a birch grove differently from how Alexei Savrasov or Isaac Levitan saw it,” Yuri Pimenov wrote in one of his books. “We are very grateful to them for their fine art and strong sense of their time, but our feelings and our art will necessarily be different - this is not artifice or fashion—it is the reality of life." Yuri Pimenov wasn’t a revolutionary, but rather a dreamer, who was born into the family of a Moscow lawyer. When he was 17, he went with a folder of drawings under his arm and knocked on the door of the famous painter, Sergei Malyutin. That was how he came to be enrolled at the Higher Art and Technical Studios. "Those were busy days, “recalled Pimenov. “We were students, being rowdy in the halls of the Polytechnic Museum as we listened to poets reading verses; we supported Vladimir Mayakovsky and Nikolai Aseev. We roared at the performances of Vsevolod Meyerhold ... But we didn’t just make noise - we were learning skills, too. " Pimenov’s love affair with the theatre would continue for many years to come. In the 1930s, he designed more than 10 productions, and for those staged at the Maly Theater and the Theatre of the Red Army he received two state awards. Theatre was the artist's "daily bread", and it fed Pimenov in those years when he was "worked over" for his "impressionism" and accused of formalism. In the memories of his friends, even at the most difficult moments Pimenov remained optimistic. Alexander Labas wrote: "Pimenov was very active, quick, lively, cheerful, he laughed a lot and loved to talk about trifles, and to dress like a dandy. It was as if he didn’t hesitate to go on, with a smile, sometimes with a grin - he loved to make fun of someone, to make a joke, but then it was all instantly forgotten, and he was talking and laughing about something else. "