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


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Traditional Motif

  • Just as a pianist scales to warm up his fingers and check his musical ear, an artist draws studies to calibrate the relationship between sight and hands. As a well-rounded artist, Victor Lysakov has explored numerous types of studies. Although mostly recognized for his modern, expressionist pieces, Lysakov has also mastered more traditional genres. These Traditional Motifs include still-life, landscapes and portraits.

    Lysakov has brought many still items to life during his colorful profession as an artist. Glasses of water, slices of bread and assortments of vegetables have been common subjects, especially during the earlier years of his career.

    To this day, one of Lysakov's favorite still-life subjects is flowers. "I enjoy the hidden tenderness and nostalgia for what is gone, the eternal beauty and celebration." He says. "The flowers are here today and gone tomorrow - fragile, as time itself."

    There is one still-life experience that the artist will forever remember. One rainy afternoon, Lysakov and some friends took cover in a nearby shed. Waiting for the rain to pass, the artist picked up a piece of chalk and began drawing a vase of flowers on the wall. One of his comrades was a quiet, unassuming man, who had an honorable military career but now earned a humble living as the town's local smith.

    As the drawing took shape, this man became very interested and watched every stroke with great anticipation. When Lysakov finished this spontaneous work of art, the man finally spoke. "I know where we can get some moonshine," he said, a crucial statement during any Russian conversation.

    "That is how I was convinced that art could do miracles," Lysakov says.

    Whether he paints mountains, the countryside or a panoramic view, there is one critical element to all of Lysakov's landscape paintings. "Landscape has to be poetic," he says.

    The artist is especially fond of his paintings that depict quaint Russian towns, with their provincial architecture, steep banks and flowing rivers. He recalls one particular collector, a man of modest income. He scrounged every last kopek (a monetary unit of Russia, equal to one hundredth of a rouble) to purchase paintings from Lysakov's landscape series. The collector later immigrated with his family, and while he took all his personal belongings with him, he was certain to pack his prized, hard-earned Victor Lysakov paintings. "They were a part of his motherland for him," Lysakov says.

    When Lysakov was a freshman at Moscow State Institute of Steel and Alloys, he briefly enrolled in an art school. There, he learned the valuable lesson of portraiture. With a portrait, the artist must work quickly and only has one chance to capture the moment - there's not enough time to deliberate over the subject or palette. After practicing this skill time and again, Lysakov surprisingly discovered he had a natural talent for reading the psychological profile of his client. "Their lives were written on their faces," he says. "I was astonished by it as much as anyone else."

    Lysakov has also had the unique opportunity to craft portraits in granite stone. Those projects required extreme dexterity and concentration - by chiseling out tiny dots with a sharp needle-like tool, he'd create images in the form of a shadow portrait.

    A particular granite portrait will eternally be etched in Lysakov's memory. A widow approached him to immortalize a portrait of her late husband. The piece of chosen stone was substantial - it was almost 4 feet tall and weighed almost 700 pounds. With just a wallet-size photo for reference, Lysakov had his work cut out for him.

    He polished the granite, enlarged the photograph, rolled up his sleeves and made magic. Naturally, when photographs are magnified, details are lost. The furrowed brow, the crow's feet and the facial muscles disappear. Photographers often refer to a picture like this as "the moon" since the only thing that's left to coordinate is the space between the lips, nose and eyes. "The rest I had to come up with somehow on my own," Lysakov says.

    Upon completion, Lysakov received the ultimate compliment from his client. "You are a miracle worker," she said, shaking. "The deceased did not look anything like the photograph. But on your portrait, he looks as if he rose from the grave!"

  • Border Construction II

    Border Construction II

    1993, Oil on Canvas, Size: 22 x 18
  • Evening Fun

    Evening Fun

    1996, Oil on Canvas, Size: 39 x 32
  • Lady's Hat

    Lady's Hat

    1985, Oil on Canvas, Size: 15 x 13, Private Collection
  • New Avon

    New Avon

    1988, Oil on Canvas, Size: 18 x 15, Private Collection
  • Nightingale Still Life

    Nightingale Still Life

    1995, Oil on Canvas, Size: 24 x 15, Private Collection
  • Peony


    1983, Oil on Canvas, Size: 26 x 39, Private Collection
  • Scenery


    1985, Oil on Canvas, Size: 15 x 8, Private Collection
  • Still Life of a Red Apple

    Still Life of a Red Apple

    2002, Acrylic on Canvas, Size: 20 x 20
  • Still Life with a Brandy Snifter

    Still Life with a Brandy Snifter

    Oil on Canvas, Size: 21 x 14, Private Collection
  • Still Life with a Lilac Branch

    Still Life with a Lilac Branch

    2002, Oil on Canvas, Size: 24 x 20, Private Collection
  • Still Life with a Plate of Fish

    Still Life with a Plate of Fish

    1973, Oil on Canvas, Size: 20 x 14, Private Collection
  • Still Life with Red Apples and Vodka

    Still Life with Red Apples and Vodka

    1994, Oil on Canvas, Size: 28 x 24, Private Collection
  • Sukhumi


    1988, Oil on Canvas, 21 x 24, Private Collection