Vladimir Mikhailovskiy came to Kaliningrad in 1957, having graduated from the legendary Mukha (Fly), i.e. Vera Mukhina Art and Manufacturing School in Leningrad. I was happy as it is a maritime city with ships and sailors – everything that I loved! - the artist was saying in one of his interviews. Soon he joined the local organization of the Union of Artists. At that time, the Soviet artists, who worked in Kaliningrad, were painting shock workers, fishermen and labouring men, being inspired by marine aesthetics and labour feats. Mikhailovskiy’s artistry was more than harmonious with these sentiments. He adopted the loyalty to realistic painting and non-admission of formal experiments since the first days in the art school.

The artist acquired the education of a monumentalist, and, having completed his studies, continued to improve his skills in this area. He was close to monumental and easel paintings, especially related to the maritime theme. And it was exactly the seascape painting, where Mikhailovskiy revealed his talent to the fullest extent. He used to crate battle and historical pictures, painted saloons and observed daily life of sea ports. The artist is able to paint in numerous techniques: among his paintings one can see monumental panel pictures, created in the style of marquetry, i.e. wooden mosaic, assembled from different wood species, stones and metals, as well as graphics and ceramics.

On the Collective Farm Fishermen on Pregolya painting, Mikhailovskiy depicted the Yunost Palace of Sports, which was opened in the summer of 1978. It took the building of the former German aircraft hangar, located on the periphery of Kaliningrad. Shortly, the palace of sports became one of the main places of interest in the city. Most of all, the local people from Kaliningrad came to like the façade, decorated with a monumental composition with an image of sportsmen.

Mikhailovskiy conveyed in meticulous detail the particularities of the building decoration and of the surrounding landscape, which was yet quite poor and undistinguished in the late seventies. The painter strived to portray the truth of life without embellishing it and exaggerating, as was done, for example, by the masters of the so-called austere style. Nowadays, the majority of Mikhailovskiy’s works of art are stored in the Museum of the World Ocean — the author himself handed over his works to its holdings.