Lysakov Art Company, PO Box 1706, Pebble Beach, CA 93953 - e-mail:


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Contemplation Motif

  • The paintings from Victor Lysakov's Contemplation Motif collection are primarily united in one way—the images effortlessly come to the artist's mind, born out of "nothingness." There is otherwise no common denominator. His future images can befall him at a different time of day, assorted locations and in diverse states of consciousness. The images can emerge while he's taking a stroll; others appear in his sleep. "Sometimes they come while I am calm and relaxed," he says. "Others come unannounced like sudden thunder."

    The artist's creative mind is the most active and productive while riding the metro. Perhaps it's because the doors are shut tight, the passengers are confined and one can not easily reverse their direction. "Maybe during these trips, my mind is resting from the rush of life," he says. Contemplation also occurs when the mind is free of routine thoughts and open to receiving knowledge. "It's almost a revelation."

    But as a young, struggling artist, Lysakov often didn't have the chance to paint freely. He didn't always have the time, place, paints, or canvases at his discretionary disposal. He didn't even own a simple camera to capture valuable images. Instead of materialistic supplies, Lysakov was forced to use his mind and memory as his main tools. "I meticulously crafted and sharpened every last detail, composition, light and color," he says.

    Lysakov credits his success to some of the world's great masters. German philosopher and metaphysician Immanuel Kant, Armenian artist Martiros Saryan, Russian artist Nikolay Ge, Russian theoretical physicist Gennady Shipov and American writer Richard Bach each provided Lysakov inspiration and built the foundation for the Contemplation Motif. "I studied their works and dissected them one brush stroke at a time," he says. "I yearned to understand how my paintings came into being."

  • Accidental

    Accidental "Why?"

    1990, Oil on Canvas, Size: 39 x 20, Private Collection
  • Alley of Pinwheels

    Alley of Pinwheels

    1985, Oil on Canvas, Size: 9 x 14, Private Collection
  • Blue Bottle of Spades

    Blue Bottle of Spades

    2005, Acrylic on Canvas, Size: 35 x 20
  • Bust of a Lady with a Fan

    Bust of a Lady with a Fan

    1996, Oil on Canvas, Size: 32 x 24, Private Collection
  • Cardinal's Dream

    Cardinal's Dream

    1995, Oil on Canvas, Size: 35 x 28, Private Collection
  • Clubs are not Trump

    Clubs are not Trump

    2004, Oil on Canvas, Size: 20 x 20
  • Figure in Emerald

    Figure in Emerald

    1994, Oil on Canvas, Size: 20 x 17
  • Full Moon in a Chicken Barn

    Full Moon in a Chicken Barn

    1989, Oil on Canvas, Size: 31 x 39

    After a raucous festivity, I once woke up in the middle of the night only to find myself in the chicken barn. The animals were asleep, the trees were dancing and a full moon shone bright into the window. The moon’s tender and ever-reaching light enveloped me, granted calmness and offered hope. The moon required no apology and generously disposed of my remorse. With that, I exhaled in relief. What was done was done and I did not regret what was to come.


  • General with Two Hats

    General with Two Hats

    2000, Oil on Canvas, Size: 32 x 24
  • Green Apple of Diamonds

    Green Apple of Diamonds

    2005, Acrylic on Canvas, Size: 35 x 20
  • Insomniac


    1983, Oil on Canvas, Size: 51 x 29, Private Collection
  • Journey Around the Fountain

    Journey Around the Fountain

    1995, Oil on Canvas, Size: 59 x 51, Private Collection
  • Landscape Number 27

    Landscape Number 27

    1993, Oil on Canvas, Size: 32 x 24
  • Landscape with a Ball

    Landscape with a Ball

    1996, Oil on Canvas, Size: 20 x 16, Private Collection
  • Landscape with a Mannequin

    Landscape with a Mannequin

    1997, Oil on Canvas, Size: 20 x 20

    The earth, bathed in white and powder blue, is sound asleep. It breathes and occasionally twitches in its slumber. Everyone except this mannequin and lamb has dozed off into the night. The mannequin admires his purple shadow, while contemplating a transformation to green, pink or blue. After much consideration, he is content with his purple hue. The lamb, wrapped in the light of the full moon, wanders aimlessly. She is lost, but will find her way home by morning.

  • Meeting of Etruscans

    Meeting of Etruscans

    1994, Oil on Canvas, Size: 30 x 27, Private Collection
  • Moon Pigeon

    Moon Pigeon

    1996, Mixed Media, Size: 8 x 8
  • Observer


    1989, Oil on Canvas, Size: 39 x 20
  • Portrait of a Mature Young Man

    Portrait of a Mature Young Man

    1994, Oil on Canvas, Size: 23 x 15

    In Russian, the title of this painting translates to “The Portrait of George, son of Abraham.” I love this canvas. It represents eternity, the universe and space. If I hit a roadblock during the creative process, the painting looked back at me with eternal forgiveness. The violet color conveys the depth of time – how time extends, stretches and lingers. The red, green and white combination brings a smile to my face, as I reflect on the friend who inspired the title of this painting. His name was Grigory Abramovich, which also translates in Russian to “George, Son of Abraham.” We had a night on the town together that I will never forget.


  • Purple Swan of Spades

    Purple Swan of Spades

    2004, Acrylic on Canvas, Size: 20 x 20
  • Red and Black

    Red and Black

    1988, Oil on Canvas, Size: 51 x 47
  • Seduction


    1993, Oil on Canvas, Size: 51 x 55
  • Seventeen of Diamonds

    Seventeen of Diamonds

    2004, Acrylic on Canvas, Size: 24 x 20
  • Sitting Forever

    Sitting Forever

    1989, Oil on Canvas, Size: 32 x 24, Private Collection
  • Speechless


    1994, Oil on Canvas, Size: 16 x 16, Private Collection
  • Still Life with Fish

    Still Life with Fish

    1997, Mixed Media, Size: 10 x 8, Private Collection
  • Sun People

    Sun People

    1989, Oil on Canvas, Size: 55 x 51

    By the end of the 19th century, the art industry faced certain saturation. Realism was overwhelmingly predominant, eclipsing all other forms of art. Wassily Kandinsky (leading expressionistic painter), Kasimir Malevich (pioneer of abstract geometric art) and Piet Mondrian (founder of neo-plasticism art) helped restore the fundamentals, the basic coordinates of visual art. The beginning of the 20th century saw an incredible advancement in studies of the visual language and universal culture, which future generations of artists would ultimately embrace. When boundaries were abandoned, opportunities abound. Rather than worshiping past gods, artists could instead openly express themselves. Gratefully, the public responded favorably to this movement, validating the need for communication between the artist and his audience. The Sun People represents that breakthrough.

  • The Archer

    The Archer

    1997, Oil on Canvas, Size: 32 x 24

    Before I became a full-time artist, I worked as an engineer at a military plant. When I left that job, my supervisor gave me a parting “gift” – a massive file, that was nearly 10 pounds and contained all the reports my colleagues had written about me. I learned more about people that day than I cared to know. Those who I once considered decent and friendly proved to be quite the opposite.

    This story is intertwined with the Biblical passage about Jonathan, the son of King Saul, who warned his close friend David about Saul plotting to kill him. One morning, Jonathan went out into the field for archery practice. He told David that when his servant was sent to collect the arrows, he would yell out one of two instructions – one of which would determine David’s fate. If he shouted, “the arrows are behind you,” it meant that David could come back and safely rejoin the king at the feast. If he shouted, “the arrows are in front of you,” it was a signal that Saul was indeed plotting to kill David. Alas, the arrows came down far in front of the servant that day and Jonathan said to David, “The Lord has set you free.”

    This painting illustrates my gratitude toward God for all the archers He has sent into my life that gave me a timely warning.


  • The Handbell

    The Handbell

    2001, Oil on Canvas, Size: 20 x 16

    When I paint images of heads or torsos, I often feature a secondary object – an apple, a bell, or a glass perhaps. Frequently these heads or torsos are accompanied by a bird, as the bird represents fortune.

    My bird of fortune is free to come and go as she pleases; I do not restrain her in a cage. She seldom visits, but when she does, I offer her a meager gift of dried pasta morsels. It’s all I can afford, but I feed her generously, hoping she’ll come back again for another meal. Once, my bird of fortune sat on my shoulder and intimately leaned her tiny head against my cheek. I asked her if she would return, but she coyly flew away without an answer.

  • The Keeper

    The Keeper

    1989, Oil on Canvas, Size: 39 x 20

    Temptation, doubts and enticements often veer us off the path of right choices. You can not always depend on Common Sense to dispense the wisest advice. In these times of need, you must have a Keeper to rely on. He helps us even when we try to hinder him from doing so. I am deeply indebted to my Keeper. He saved me numerous times and I trust him implicitly.

  • Wanderer


    1991, Oil on Canvas, Size: 39 x 20, Private Collection