He started his studies of painting at the school of art in Belgrade in 1925. with professors B. Vukanovic, Lj. Ivanovic and I. Sobajic.
He left for Paris with the intention to study at the Academia des Beaux-arts the following year 1926.
However, he decided to study painting on his own in the Parisian museums and galleries. Occasionally, he took part in some exhibitions (the Indipendent’s exhibition, group exhibitions of Yugoslav artist…)
He worked on his first exhibition in Paris to open it in Rome at the Casa dell' arte moderna Bragaglio in 1929.
In the period from 1932. to 1938. he lived in Belgrade where he organized three one man shows.
In 1937. he took part in the international exhibition in Paris and was awarded Grand Prix. He again returned to Paris in 1938. and stayed there until 1940. when he came to Belgrade and signed up for the international exhibition in the Hague where he was awarded first prize.
He spent the war period in concentration camps.
After the liberation in 1946. he came to Cetinje and participated in establishing the first school of art in Montenegro. Together with M. Milunovic, he was engaged in a painting workshop which was attended by a great number of eminent Montenegrin painters. In 1950. he came back to live in Belgrade. He was a member of ULUCG and ULUS (Association of Fine Arts artists for Serbia and Montenegro) and permanent member of the "Penelope" Gallery in Rome. He was engaged on studies in France, Spain, Italy, Germany, The Soviet Union, Brazil, England, Belgium, Syria and Lebanon.
Lubarda was awarded many prizes of big reputation: the International Redemptory prize at the Second Biennial in Sao Paolo, in 1953, First prize at the Third Biennial in Tokyo, in 1955, the National Guggenheim prize, New York, 1956, the R. Tagore Artistic Charter, Calcutta, 1970 and the Herder prize, Vienna, 1973.
Lubarda died in Belgrade on February 13th 1974.
“Art historians and critics, poets and writers, actually all those who more or less studied Petar Lubarda's opus, used to pay more attention to his painting than to his drawing creations. Thus, his drawing remained in the shade of his painting in spite of the fact that in this domain he demonstrated undoubted skill and, of course, big and significant work of art.
Lubarda's approach to this art discipline was different. First of all, he took a drawing as a starting point and introduction to more complex projects. It served to him as a support, a sort of a sketch, a skeleton of quick observation of motives which he observed and noted roughly on the basis of which he could start realizing his final work. Some of them even have notes indicating color hints which should be put on the canvas afterwards.
Lubarda had a good understanding of drawing characteristics. He knew that it was a definite basis of any art work but he was at the same time aware of the fact that it was a special creation and therefore, he nourished it as an independent reality with all the elements of final constant.
This exhibition includes works of different comprehension of a drawing. It points out the spectrum of thematic interest, but at the same time it represents a context of all phenomenal dimensions of a drawing…”