From the very beginning of his artistic career, Yaichnikov had an inherently perfectionist attitude toward painting technique, was constantly striving to improve its methods. The formal elegance of the painting surface in his works is built on a combination of a sweeping, broad painting technique and a smooth, polished texture and an accurately designed tonal solution in an underpainting. Special attention given to pigmented lacquer glazing strengthens the effect of vibration of the ambient light and air, so typical of the author's painting manner.
Clear preference given to the image of man, a figurative beginning, was also predetermined by his affinities at the time: in his early works those included Valentin Serov and Fechin, later - Vrubel and Balthus, and in his mature works - Modigliani, Matisse and Soutine. With all this variety of names, we can talk about the "harmonious" personality of this artist, who shunned dogma and "partisanship" when it came to taste, yet who in the past used to turn unerringly toward the anthropocentric worldview of the European and domestic tradition. The very possibility of being interpreted in the context of artistic succession (a rather broad context, to be sure) does not frighten the artist in the least. Peter Ikonnikov ironic appraisal of his own artistic career (in Sergei Daniel's program) is quite fitting in his regard: "If you use paints on canvas, it means you're e traditional artist."

His very first independent artistic portraits ("Portrait of an Old Man", 1986; "Grandfather's Portrait", 1987) have already Shown clear and thorough interest in the question of stylizing the physical form, an interest that was fully actualized for the first time in the painting "Young Girl with a Flower", 1989. In late 1980s - early 1990s, the expression of this interest often teeters on the edge of self-worth, drawn toward the grotesque ("Beach in Capri", 1990; "Cain and Abel", 1993). Yet the desire to find true individuality of the language of painting becomes an antidote of sorts - beginning in early 1990s, Yaichnikov is much more serious and attentive about his work on technique. In finding solutions to technical problems, he not only frees himself from the somewhat superficial ornamentality unavoidable for the initial stage of one's artistic career, but he also manages to reach the desired freedom from the narrative element. This is particularly evident in the light, study-type paintings "Lovers", (1990) and "Echnaton",(l 989). The work titled "RoadmasterMarchukov and a Nude" (1990) is very characteristic of the painter's artistic individuality. Here the slightly naive cunning, tender irony, and an interest in "odd" characters and "aesthetic feeblemindedness" are combined with a clear rejection of the 1990s - 2000s. ("Mars and Venus", 1993; "Guardian Angel", 1995; "Josephine with a Jily", 2002).

Carnivalization begins to assert itself in painting in the early 1990s, positively and drastically transforming the monotony of everyday life. Admittedly, though, the artist's characters, steeped into their momentary or adopted roles, are not romanticized by him - they are much too stylized and frivolous for that ("Casanova", 2001; "Chamber Junker Pushkin with his Wife", 2001; "On the Throne", 2002). A true son of his postmodern era, Yaichnikov readily resorts to allusions ("Carmen", 2001; "Infanta", 2001; "Young Girls with Oranges", 2002), yet his quotability never becomes a goal in and of itself. Moreover, it is not painted with sarcasm but rather with the accent of domestic warmth and subtle humor (so near and dear to Viktor as a person as well as a painter). The painter's homebound worldview is the most stable trait that is maintained throughout his entire artistic career. In Yaichnikov's paintings the domestic world, the world of family, childhood is represented by various constants of plot and genre - from family and kid portraits "in character" ("A Stroll", 2000; "Family Portrait. A Celebration", 2002; "Portrait of Liza", 1997), including the especially intimate portraits of his son ("My Pierrot", 1993) to free variations on the theme of motherhood ("Mother and Child", 1999; "Mother and a Baby", 1999) and father's "Lullaby", (2001). Even when he turns to the biblical and gospel theme, Yaichnikov often gives preference to subjects that are in keeping with the domestic theme ("Adoration", 1995; "The Return of the Prodigal", 1999).