Ludmila TSONCHEVA

1946 was born in Kishinev, July 22nd
1959-1961 had studies in the Youth Art School by the name of A.V.Schusev in Kishinev
1962 - got acquainted with Ada Zevina, the painter and art critic, whose lectures and talks greatly affected the formation of would-be painter’s creative views
1963 - started a creative intercourse with Michail Grecu, the painter, and made mutual trips for sketch works in Moldavian villages and discussions on the modern art
1966 - started to participate in exhibitions of Republican,All-Union and International scales.
1967 - worked as a lecturer in the Kishinev Youth Art School, teaching
1987 special subjects
1972 - was enrolled in the USSR Union of Painters as a member
1979 - graduated from the Saint-Petersburg Academy of Arts, Faculty of Art Theory & History

PUBLICATIONS
The 1st Republican Youth Art Exhibition. Catalogue. 1966
Gheorghi Nisskii. Paints of Youth, -“Literaturnaia Gazeta”, 1967, March, No.10
G.Pletneva. Modern,national. – “Sovietskaia Cultura”, 1967, April 4th
O.Voronova. Paints of the Earth. – “Komsomolskaya Pravda”, 1969, October 22nd, No.247
S.Bobarnaga. Expozitia de lucrari ale femeilor plasticiene. – “Cultura”, 1975, November 29, No.49
L.Toma.Reflectii pe marginea creatiei tinerilor pictori. – “Nistru”, 1975, No.7
N.Vatolina. A glance at the Youth. –“Creation”, 1977 No.1
Young painters of Moldova. Catalogue, 1979
M.Livshits. Youngsters from Moldavia. – “Creation”, 1979, No.7
L.Toma. The Earth and people. – “Creation”, 1981, No.10
Art of Moldavian SSR; in the book: The USSR peoples art history. Vol.9, book 1,1982
L.Toma. By poetic syllable of pictures. “Codry”, 1986, No.8
L.Toma. Poetry of paintings. Urban scenaries of Ludmila Tsoncheva – “Chisinau de Seara, 1986, May13
Exhibition of Modern Soviet and Japanese pictures. Catalogue. – Tokio, 1987
L.Toma. Self-Loyalty. (Paintings of Ludmila Tsoncheva), ”Columna, 1992, No.8-9
L.Shorina. Portrait of Kishinev in the interior of time. ”Republica”, 1993, No.48, December 4
L.Shorina. The talent is the destiny. - Moldavskie Vedomosti. 1996, No.25, June 15
CPH-98. Moscow International Art Salon. Catalogue
CPH-2000. Moscow International Art Salon. Catalogue
O.Garusova. “Today’s state-of-art resembles a labirinth”. Moldavskie Vedomosti, 2000, July1
T.Curteieva. “O instants,instants”…. Business Gazette., 2001, June 29
L.Shorina. Paintings of Ludmila Tsoncheva., Moldavskie Vedomosti, 2000, July 1
Eleonora Barbas. Replica autonoma si sensualism epurat. – Femeia Moldovei, 1996, No.5
Ludmila Toma. Incursiuni in creatia Ludmilei Toncev. - in cul. Arta,. 1999-2000, Chisinau, 2001-10-11
Dictionary of International Biography. Twenty-fifth edition, Cambridge, 1997 Leitgenossische Kunst Moldaviens. Catalogue. - Ansbach, Germany, 1998

PERSONAL SOLE EXHIBITIONS
1976 – Moldova State University, Kishinev
1987 – Republican Book Fan Society, Kishinev
1989 – Cinema House, Moldova’s Cinematographers’ Union, Kishinev
1991 – The Tsvetnoi Bulvar Circus, Moscow
1993 – “Siabeco” Bussiness Centre, Kishinev
1996 – OSCE Representation in Moldova, Kishinev
1996 – The Palace of Republic, Kishinev
1997 - The National Library of Moldova, Kishinev
1999 – “Exiton Bon” Investment Fund, Kishinev
2001 – Exhibition Halls, Moldova’s Painters’ Union, Kishinev

EXHIBITIONS
1967 – All-Union Youth Exhibition, Moscow
1972 – All-Union Youth Exhibition, Moscow
1973 – All-Union Exhibition, Moscow
1974 – Exhibition of Moldova’s painters, Plovdiv, Bulgaria
1975 – All-Union Portrait Exhibition, Vilnius
1976 – All-Union Youth Exhibition, Moscow
1979 – “Young Painters of Moldova”, Moscow
1982 – All-Union Youth Exhibition, Moscow
1987 – Exhibition of Modern Soviet and Japanese Arts, Tokio
1987 – Exhibition of spring scenary groups of painters, Gurzuf
1988 – “Search” expo, the Palace of Republic, Kishinev
1989 – Exhibition dedicated to the memory of M.Eminescu, Kishinev
1989 – Exhibition of Bulgarian painters in Moldova,Palace of Republic, Kishinev
1990 – Exhibition of Moldavian painters in Russia, Cinema Centre in Krasnaia Presnia, Moscow
1992 – Exhibition of Moldavian painters in Romania, Iasi
1993 – Exhibition of Moldavian painting in Romania, Bucharest
1993 – Group exhibition of Moldavian painters, A.P.Chehov Drama Theatre, Kishinev
1994 – Exhibition of Bulgarian painters, Moldexpo, Kishinev
1995 – Group exhibition of international scenary painters, Gabrovo, Bulgaria
1996, 1997 - Moldavian Salon in Bacau, Romania
1998 – Moscow International Art Salon in Central Painters’ House, Moscow
1998 – Exhibition dedicated to the 50th anniversary of Israel, Museum of History, Kishinev
1998 – Group exhibition of Moldavian painters, Ansbach, Germany
2000 – Moscow International Art Salon, Central Painters House, Russia

COLLECTIONS OF WORKS
1. The National Art Museum of Republic of Moldova
2. Tretiakov State Art Gallery, Russia
3. Amur Museum of Regional Studies,Russia
4. Karaganda Art Museum of Arts, Kazahstan
5. Udmurtian Museum of Arts, Russia
6. Balashiha Picture Gallery, Russia
7. Odessa Art Museum, Ukraine
8. Cheliabinsk Regional Picture Gallery, Russia
9. Zaporojie Art Museum, Ukraine
10.Benderi Picture Gallery, Moldova

PRIVATE COLLECTIONS
Moldova, Russia, Ukraine, Canada, Usa, France, Spain, Germany, Netherlands, Bulgaria, Romania, Israel, Turkey, Jugoslavia, Austria,Hungary

LIST OF REPRODUCTIONS
1. At work. 1971. canvas, oil. 60x70cm
2. Troian girls. 1971. canvas, oil. 80x60cm
3. Portrait of Bulgarian peasant. 1971. canvas, oil. 60x50cm
4. Still life with a small chair. 1979. canvas, oil. 80x60cm
5. Still life with a violin. 1978. canvas, oil. 80x60cm
6. Post office in Bairak. 1971. canvas, oil. 60x60cm
7. Still life with sunflower. 1981. canvas, oil. 65x60cm
8. Poppies and lilies. 1973. canvas, oil. 70x80cm, A. Andronic’s collection. Kishinev
9. Still life with a silver jug. 1981. canvas, oil. 90x80cm
10. Summer still life. 1975. canvas, oil. 75x100cm
11. Old house walls. 1983. canvas, oil. 68x85cm
12. Still life with fruits. 1984. canvas, oil. 80x60cm
13. On the eve of the New Year. 1984, canvas, oil. 80x100cm
14. Tobacco leaves driers. 1986 canvas, oil. 38x46cm
15. The basket with lilies. 1985. canvas, oil. 83x70cm. Private collection. Moscow
16. Lilac in bloom. 1988. canvas, oil, 60x65cm
17. Buruceni Street. 1986. canvas, oil. 60x65cm. V&R. Boshkanski, Kishinev
18. Tvarditsa landscape. 1986. canvas, oil. 45x55cm
19. Tvarditsa street. 1986. canvas, oil. 38x55cm
20. Peasantry yard. 1986. canvas, oil. 40x47cm
21. Portrait of the singer, A. Belchevichina. 1986. canvas. 55x45cm
22. A small street in Gurzuf. 1988. canvas, oil. 69x68cm. National Arts Museum of Moldova
23. A balcony over the sea. 1988. canvas, oil. 100x80cm. Zaporojie Arts Museum, Ukraine
24. Jeanne. 1989. canvas, oil. 80x90cm
25. Still life with a fig-tree branch. 1988. canvas, oil. 90x90cm. Tretiakov Art Gallery, Moscow.
26. A blossoming valley in Crimea. , 1988. canvas, oil. 72x80cm. Private collection. Canada.
27. A girl in the arm-chair. 1989. canvas, oil. 74x80cm
28. A fountain near Raievski house. 1990. canvas, oil. 60x60cm. Dnepropetrovski Art Museum, Ukraine
29. Monastory gates. 1989. canvas, oil. 60x59cm. Moldova National Art Museum
30. Stella portrait. 1990. canvas, oil. 55x49cm
31. Portrait of Ludmila Zaichenco. 1990. canvas, oil. 60x50cm
32. Gurzuf scenary. 1990. canvas, oil. 80x60cm
33. Wave breakers. 1990. canvas, oil. 55x55cm
34. Synagogue. 1990. canvas, oil. 60x80cm. Moldova National Art Museum.
35. An old wind-mill. 1991. canvas, oil. 58x76cm. Private collection. USA
36. Still life with baskets. 1988. canvas, oil. 69x100cm
37. Olives at seacoast. 1991. canvas, oil. 38x55cm. Private collection. Moldova
38. Magnolia branch and fruits. 1992. canvas, oil. 80x100cm. Moldova National Art Museum
39. A park in Crimea. 1991. canvas, oil. 60x60cm. Private collection. Kishinev
40. Tatar spring. 1991. canvas, oil. 60x50cm
41. Flowers at sea. 1991. canvas, oil. 60x60cm. Private collection. Kishinev
42. Flowers and fruits. 1993. canvas, oil. 60x75cm. Private collection. Kishinev
43. Still life at shelves. 1988. canvas. oil. 75x83cm. Moldova National Art Museum
44 Flowers and fruits. 1990. canvas, oil. 75x80cm. Amur Museum of Regional Studies. Russia
45. Still life with sunflower. 1992. canvas, oil. 73x120cm. Private collection. Kishinev
46. A church at the cemetery. 1993. canvas, oil. 60x70cm
47. Still life with a violin. 1994. canvas, oil. 87x100cm. S. Borets’ collection. Kishinev
48. Blagoveschensk church. 1996. canvas, oil. 50x60cm
49. Sokolski monastory. 1995. canvas, oil. 45. 5x61cm
50. Still life with a dried branch. 1994. canvas, oil. 73x73cm. A. Guzovski Collection. Kishinev
51. Gladioli. 1994. canvas, oil. 70x80cm
52. Nastia. 1995. canvas, oil. 50x40cm. Private collection. Kishinev
53. Ludmila. 1996. canvas, oil. 50x40cm. Private collection. Kishinev
54. A basket with quince. 1993. canvas, oil. 80x100cm. A. Andronic’s collection. Kishinev
55. Scenary with water-pressure tank. 1998. canvas, oil. 40x50cm
56. St. Constantin and Elena Church. 2000. canvas, oil. 35x35cm
57. Vases at seaside. 1995. canvas, oil. 50x60cm. Kirtoka’s collection. Kishinev
58. Landscape with sunflower. 1997. canvas, oil. 40x45cm
59. Asters. 1999. canvas. oil. 60x60cm
60. An apricot-tree in bloom. 2000. canvas, oil. 55x55cm
61. A cherry tree. 2000. canvas, oil. 60x60cm
62. Landscape with poppies. 2000. canvas, oil. 50x50cm
63. Galia. 2000. canvas, oil. 60x50cm
64. Still life with bird-cherry berries. 2000. canvas, oil. 58x75cm
65. Peaches. 2000. canvas, oil. 27x40cm
66. An old poplar. 2000. canvas, oil. 60x60cm

THE DIALOGUE WITH A SURROUNDING WORLD

The differentiation of painters into those, who used to work with still life and those, who used to work by imagination, existing in the art critic circles, is highly conditional. The experience of many masters (including such painters as Van Gogue, Matiss) would have seemed to witness the interaction of polar tendencies.

Peering at the nature, a real painter reflects what she perceives in her imagination according to the laws in arts and this hard creative work results in high emotional aspects of paintings.

The same kind of reflections occur when perceiving the painting of Ludmila Tsoncheva. She does not declare any programmes, but with great enthusiasm she finds solutions to the art problems,which have determined her creative evolution during more than 3 decades of facing and modifying these problems.

Creation of images on the basis of her impressions and feelings in the life , ethically modified by the author’s will still remains her main objective.

Under the influence of post-impressionism Ludmila Tsoncheva started to paint in oils in her youth period.. At once she sensored the peculiarities of this material and its technical advantages. She was keen on the synthesis of French,Romanian arts dated of the late XIX and early XX centuries as well as of folk national art, pioneered by Mihai Grecu,Valentina Russu-Ciobanu and Ada Zevina, progressive painters of Moldova in the sixties.

Major decorativeness, outlined architectonics, unfrequent stylized sketches, plaited into a gamma of colours, identify the stylistics of early works of Ludmila Tsoncheva, all in all, typical for Moldavian painting of that period (series of “Bulgarian girls from southern Moldova,1971). The painter is flexible to use graphic means and imparts different expressions to the colour combinations in co-ordination with the author’s fresh and sensitive perception of life.

Ludmila Tsoncheva prefers well—known and familiar themes, often paints the scenaries of Kishinev,where she was born and describes the nature of rural Moldova and Crimea, which was frequented for scenary works. Still life is a kind of laboratory genre-painting for Ludmila Tsoncheva, enabling her to research the perceptive means of fine arts. That is why, the complication of her professional tasks is vividly seen in still life works. For instance, the “Still life with a small chair (1979)” was built on the principle of interchange and rhythmic combination of tone and factor melodies. The bouquet and the peasant’s small chair are united by a forced relief of colour layer, while the vessel and fruits are combined by a plane-like style of painting. Materiality of fruits is sparingly determined by a colour accent, introduced tactfully into the overall gamma of neutral tones. In the next decade, composition inactiveness is overcome, the process of form-shaping out of colour masses prevails and advantage is taken of different techniques (“Still life with a silver jug”,1981).

The sensiveness of picture plane and space vision of the painter are gradually changed. Discontinued dark contour line puts an accent on the elastic plastics of the plants,fruits, different forms, existing in the densed, “subject-oriented” air medium (“Crimea still life”,1987; “Still life with a fig-tree branch”,1988). A free manner of painting by heavy strokes of brushes transmits the beating of creator’s nerve. Enhanced tension of plastic form is a witness of world perception, adjusted in time. In the late eighties, Ludmila Tsoncheva was recognised: she is not accused any more in the “ form-creative morality”; more of it , her works are acquired by the most prestigious galleries (Tretiakov Art Gallery including). However, another obstacle appeared to trial her. In many regions of the country “neo-avant-garde” trends, encouraged by fashion and new markets, were mushrooming lately. To join them was easier than to retain loyalty to her principles.

The painter keeps developing steadily and decisively. She does not lose the creative temper and trusts more to her intuition. She is very sensitive to vital natural forces, that is vividly obvious in Crimean landscapes, which are full of contrasts. Marking out the outlines of important elements, dynamic strong-willed gesture,brush race and pressure, resolute lines seem to magnetize a picturesque structure, as a powerful breathing of the Earth.

A great role is played by the natural environment in all pictures about Kishinev, as well: low –height houses are sinking in vast seas of verdure, church domes are resisting to low-flowing clouds. Originality of streets and yards attracts one’s eye by rhythmics of forms and colour spots. The author is bold enough to transform the subject colours and by vibrating them she depicts light emission which is typical for Moldova.

Landscapes made in Kishinev Botanic Garden are quite unusual. Plants in bloom create both a high chord and a pleasant melody in turn. Irrepressible craving of life is expressed in plant stems, in leaf turns, in petal forms facing the light.

The expression of portrait works achieved by colour arrangement and plastic structure is adequate to the psychological formation of a human being and his spiritual mood. The author picks up keenly and by art techniques amplifies the agitation of feelings, catches the disarray and perturbation of the soul (“Jeanne”, “Stella”1989, “Portrait of L.Zaichenco”,1995.

Accumulated experience and skills enable Ludmila Tsoncheva to work in a relaxed manner, improvising and immediately adjusting her emotions by logics of the art thought. Her arts are charged and pierced with passion and will that are so essential for culture renaissance in the period when spiritual values are depreciated.

Nevertheless, the dialogue of the painter with the world that surrounds us goes on and it is fraught with unexpected outcome.

Dr.in Art Criticism
Researcher of Institute of Art Studies at the Academy of Sciences of Republic of Moldova