Russian portrait of the XVIII century, was a pupil of the French painter Louis Caravaque.
In addition to the Vishnyakov portraits painted pictures on religious themes.
Vishnyakov — master of psychological characteristics. He carefully examines and subtly conveys the faces of his characters.
I. Ya. Vishnyakov was a pupil of L. Caravaque, French painter, invited by Peter the great in Russia. In the 1730s he worked in the "picturesque" Office of the buildings under the guidance of A. M. Matveev, which place was taken after his premature death in 1739 From the extensive heritage Vishnyakov reached us only some portraits.
The work of Ivan Yakovlevich Vishnyakov associated with St. Petersburg, where he arrived among the "artisans" involved in the construction and decoration of the new capital. In contrast to his older contemporaries I. Nikitin and A. Matveyev Vishnyakov did not study abroad — his art was formed under the influence of the Russian school of painting of the pre-Petrine time.
In twenty-eight years he has the rank of "molar" (scenic) an apprentice. Subsequently he received the title of master of "writing icons and portraits". For many years Vishnyakov headed "the beautiful team" Office of the buildings, of a public institution that was in charge of the XVIII century construction and decoration of palaces and churches of St. Petersburg and its suburbs. As the master of "beautiful teams" Vishnyakov played the image of the Church decorations for the court theatre, ceiling and painting. However, there is evidence that all of this, he preferred portrait painting. His teacher and elder brother in the shop Louis Caravaque was talking about a young Vishnyakova that the "especially of those who can write with a natural person".
Vishnyakov has been recognized, mainly, as a portraitist. Refinement of the image, warmth of sentiment, no frills, silver colours are the characteristic features of his artistic style.
"The value Vishnyakova in Russian art is that he seems to be concentrated in itself common, that is, and other artists of his time: Antropova, Argunova, Mine Kolokolnikova, Serdyukov, Molchanovo, Ostrovsky, in many of those anonymous who now increasingly appear at the exhibitions of the works of the XVIII century[ESA] under the title "artists of the mid-eighteenth century" — the community attitude, delight in the richness of the material world and a high sense of monumentality, not lost in attention to detail. Vishnyakova, this monumental dates back to the ancient tradition, while the elegance, sophistication decorative building show great command of forms in European art. The harmonious blend of all these qualities makes Ivan Yakovlevich Vishnyakov one of the most brilliant artists of this complicated transitional time in art, which appeared in Russia in the middle of the XVIII"
Vishnyakov — master of psychological characteristics. He carefully examines and subtly conveys the faces of his characters. But the costumes that they wear these amazing costumes of the XVIII century, with their fabrics of different colors and textures, with their subtle embroideries and laces, patterns, and pleating creates a sophisticated and elegant rhythm, important for Vishnyakova-painter, no less. Painting them, he can fully realize their coloristic and decorative gift. Even hands that are so important to most portraitists, often become, he would like the elements of a suit, subject to the General rhythm, hiding in the folds.
This combination of volume and written to the head and a few more flat and decorative treatment of a figure in a jeweled outfit, serving most of the dark background gives the portraits Vishnyakova special charm. He is one of those rare, usually born in the transitional era, artists in the art whose subtle mastery connected with naivete, and sophistication — with the immediacy of perception. So he created the image of Sarah Fermor — dressed in "adult" dress a charming girl with disproportionately long arms — has become a symbol of all Russian art of the mid-eighteenth century.