Romantic musical theater, which flings the human into sublime state, affected the impressionable boy’s identity, defining the personality of the characters of his future works.
Influenced by theater as a synthetic art form, Yuriy Yegorov combined different monumental techniques, such as painting, mosaics, and tapestries.
As a student of the 4th year, he moved to the faculty of monumental painting of the Art-Industrial College named after Mukhina(teachers: Johanson, Rublev, Savin).
The three of us are standing on the edge of the cliff this summer morning; the giant shield of Sea sparkles with hot dazzling silver on the right and on the left, stretching away into endless distance.
When intuition and high artistic culture helped the painter feel he got close to a treasure, he developed these "lodes" for many years, advancing the found forms, postures, and positions of the figure in space.
The essential difference of Yegorov’s painting technique from earlier marine art is his active use of close-ups, when the sea is depicted closely to the viewer.
Previously, the sea was usually represented panoramically: the water was harmonically framed with catchy elements of the landscape, such as mountains, rocks, cliffs, and, on the other hand, the halls of high heaven.
Anyway, a perspective view of the sea is usually depicted; the latter is an object we perceive with eyes from a distance (this is typical both for academic artists of the 19th century – Aivazovskiy, Bogolyubov, Lagorio, Latri, Sudkovskiy and for the founders of Impressionism – Manet, Monet, Sisley, Whistler, as well for Russian artists of the late 19th – 20th century, such as Pokhitonov, Ladyzhenskiy, Nilus, Sinitskiy, Sheliuto, Malyshev, Morozov, Podobed, etc.).
Because of this approximation, which often resembles a cinematic close-up, we can immediately see and feel the texture of "flesh", "cloth", "stratification" of the water, as Arseniy Tarkovskiy poetically puts it.
It is generally a typical mood for a variety of Yegorov’s marinas, even those that are filled with lightness and ease, although the carefree and weightless atmosphere is not characteristic for the painter’s works.
Aivazovskiy, for example, used to wander along the coast line for many hours, enthusiastically observing the mysterious field of water, so attractive at the time of the vague sunrise or clear afternoon, at the beginning of twilight or during the sonorous, even solemn sunset.
At the same time, it is the stormy, dynamic, suddenly exposed life of the whirlpools, which accidentally appear on the surface of deep currents and which suck everything into the abyss – as in Karolino-Bugaz, 1970 ( Red Square Gallery.