In 1920, he moved to Tiflis, Georgia. During his stay in Georgia, he lectured at the Tbilisi State Academy of Arts (1922–1934) and illustrated the Caucasian novellas of Leo Tolstoy. Amongst his students was Apollon Kutateladze. Lanceray left Georgia in 1934, settling in Moscow, where he became engaged in the decoration of the Moscow Kazansky railway station and the Hotel Moskva. During the same period, Lanceray also worked as a theatrical designer. Three years before his death, he was honored with the Stalin Prize, and in 1945 he was awarded the title of the People's Artist of the RSFSR. He died in Moscow at the age of 71. Moscow Kazansky Railway Station One of the most well-known works of Lanceray is the mural of Kazanskiy Railway Station (1932-1934 and 1944-1946). Schusev, the famous Russian architect and a frequent character of Lanceray's diaries, was responsible for the whole process from the very beginning. In 1916, Schusev, Benois, Serebryakova, Lanceray were hired to plan the decorations and paintings for the Kazanskiy railway station, but the revolution broke off the plans. 1932 was the year when the state reform of architecture was carried out in the USSR, and ‘Stalinist’ architecture with its monumental style became canonical. Lanceray, an experienced monumental painter with conservative views, was invited from Tbilisi to Moscow to continue working at The Central Railway Station decorations. He was in charge of the restaurant located inside. In the 1932-1934 paintings, Lanceray tried to show specific features of every painted region. For instance, Murmansk displays a busy crew ship, while Crimea is depicted by a smiling Tatar woman against the background of a clear sky, exotic trees and a working carpenter. In the thirties, he managed to complete such murals as Moscow Construction, Murmansk, Crimea, and others. In January 1934, after gluing the first canvas to the plafond Lanceray writes: "A turning, formidable day: today they glued the first picture, Crimea. Of course, I am shocked by the effect. It is small, puny, completely not picturesque, completely not monumental. <..> At this distance, there is no other volumetric effect <..> That's when you learn the experience and mastery of Byzantium!"Because of the irregular construction of the building, high ceilings and unpredictable light, the artist faced difficulties to make the painting bright and noticeable. Besides its place and its scale, a distinctive feature of this work is that it was made using tempera