Loubennikov employs a monumental manner to paint those subjects that he is passionate about – woman, angling, eating and drinking – and all this embraced by the Siberian landscape he grew up in. Still, the cliché of the “Russian soul” is only partially appropriate; he has no melancholy or vague romanticism, but rather, clear and sometimes sensual poetry, put into perspective with a light touch humour. In Loubennikov's visual game, it is the woman who is allotted most roles. She is man's challenging diva, subtle temptress, or majestic muse. From a technical point of view however, she is the centre of an inspired play with chiaroscuro, rhyme of form, structural effects, and other visual strokes of genius.

If there is social engagement to be found in Loubennikov’s work, it proceeds from the unconditional love of his fatherland that he calls “the bridge between Europe and Asia”. The Euro-Asian theme keeps returning in his works, but also the Americanisation of his country, or the return to a religious past. With his view towards the West and background in the rich Russian painting tradition, Loubennikov himself functions as a bridge; he is building a monumental bridge between the Eastern and Western painting traditions.