Fountain at the river
oil on canvas
350х350mm, 2007
# 1
Old basement
oil on canvas
350х400mm, 2005
# 2
A road in Oxentea
oil on canvas
400х500mm, 2005
# 3
Village view
oil on canvas
400х470mm, 2005
# 4
An old house in Goieni
oil on canvas
400х520mm, 2005
# 5
Still nature on red table
oil on canvas
450х550mm, 2006
# 6
Gates in Oxentea
oil on canvas
400х400mm, 2007
# 7
Fountain and gates in Butuceni
oil on canvas
400х520mm, 2003
# 8
View with buckthorn
oil on canvas
400х500mm, 2003
# 9
Before the rain
oil on canvas
370х350mm, 1998
# 10
A street in Gabrovo
oil on canvas
350х350mm, 1995
# 11
An old house in Butuceni
oil on canvas
400х490mm, 2009
# 12
A house in Oxentea
oil on canvas
350х350mm, 2007
# 13
oil on canvas
600х700mm, 1971
# 14
oil on canvas
600х720mm, 1987
# 15
Summer still nature
oil on canvas
600х750mm, 2006
# 16
Still nature with quice
oil on canvas
600х780mm, 2006
# 17
Still nature with a quince branch
oil on canvas
600х600mm, 2005
# 18
Before the storm
oil on canvas
500х600mm, 1995
# 19
Night still nature
oil on canvas
500х570mm, 2006
# 20


Born: 22 July, 1946
† 24 January 2017
Kishinev, Republic Moldova

Residence :
Kishinev, Republic Moldova, str. Kogălniceanu, 3, ap. 10

Tel. (home): [+373.22] 27 49 59


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.

Ludmila TOMA Art Criticism, Researcher of Institute of Art Studies at the Academy of Sciences of Republic of Moldova