L. Kalmaeva, Artist

www.kalmaeva.eu

Ludmila Kalmaeva

Portraits

Graphics

Mix-Media

Mix-Media

previous arrow
"The night" 20x20, mix media on paper
"Madame Autumn", mixed media on paper 40x30cm
"Dedicated to Michael Jackson" Mixed media on paper 40x50cm
"Love" Mixed media on paper 40x50cm
"The man and this Horse" Mixed media on paper 40x50cm
"Bell me", 40x50, mixed media on paper
"Russian thee" Mixed media on paper 40x50cm
"Mother with twins" 40x30, mixed media on paper
"The beauty and the beast" 30x40, mix-media
"Generations", mixed media on paper 40x50cm
"Anna Karenina", 40x30, mix-media
circus
"Still life with a Cat" 30x40, mix media on paper
"Winter", mixed media on paper 40x60cm
"Summer", mixed media on paper 40x60cm
next arrow
 
Drawings

Drawings

previous arrow
"My hand" 40x30cm, pencil on paper
Head 30x20cm pencil on paper
"Head" 30x21cm pencil and quash on paper
"Artist" 35x35, pencil on paper
"Art critics" 35x35, pencil on paper
"Art critics" 35x35, pencil on paper
"Woman's head" 30x40cm pencil on paper
"Fass!" 90x60, pencil and tempera on paper
"Figure" 40x30cm, pencil on paper
Face 30x30cm pencil on paper
Profile 40x30cm pencil on paper
"Woman's football", 30x36, pencil on paper
Hand 40x30cm Pencil on paper
"Bodys" , 52x36, pencil on paper
"Victims" 95x60cm, pencil on paper
"Two" 40x30cm, pencil on paper
"Torso" 40x30cm, pencil on paper
"Prometey", 60x90, pencil on paper
"Russian face" 40x30cm, pencil on paper
"Face and hands" 40x30cm, pencil on paper
“Flowers” 35×38, pencil on paper
next arrow
 
Lithographics

Lithographics

previous arrow
Requiem 40x50cm Litho
Memory 50x30 Litho
Spring 40 x 50 cm Litho
Head 10x20cm Litho
Head 15x10cm Litho
Angle 25x10cm Litho
Head 15x10cm Litho
Head 10x10cm Litho
Head 10x10cm Litho
Head 16x10cm Litho
"Bride" 16x10cm Litho
Head 18x10cm Litho
Head 10x10cm Litho
Head 10x10cm Litho
Head 10x10cm Litho
Head 50x40cm Litho
Agression
"Belarusian girl" 30x40, litho
deducated-to-bruegel
next arrow
 
Nudes – Drawing

Nudes – Drawing

"Nude", 40x30 pencil on paper.
"Nude" 60x90, pencil on paper
"Model", 40x30 pencil on paper.
"Model", 40x30 pencil on paper.
"Nude" 40x30 pencil sketch on paper.
"Nude" 40x30 pencil sketch on paper.
"Model", 40x30 pencil on paper.
"Nude" 40x30 pencil sketch on paper.
"Flying angel", 50x36, mix media on paper
"Nudes", 30x35 pencil on paper.
"One-two" 90x120 pencil and tempera on paper.
"Standing model" 40x30 pencil on paper.
"Sport" "Standing model" 40x30 pencil on paper.
"Sport", 40x35, pencil on paper.
"Sport", 40x32, pencil on paper.
"Woman" 80x60cm pencil on paper
"Nudes" 40x30cm pencil on paper
"Nude" 80x60cm pencil on paper
"Nude" 80x60cm pencil on paper
"Boy", 90x40cm pencil on paper
"Nude" 30x30cm pencil on paper
"Girl", 90x40cm pencil on paper
"Girl by the sea", 90x70, pencil on paper.
"Man torso", 40x30 pencil on paper.
"Man and woman", 40x40, pencil on paper.
"Angel "30x25cm pencil on paper
"Nature", 50x36, mix media on paper
previous arrow
next arrow
 

Sculptures

previous arrow
"Eva", 25x60cm, concrete
skulpture "Treasure", 30см, ceramic, glaze
sculpture "Woman" fireclay, 25 cm
skulpture "Calendar", 25cm, ceramic, glaze
skulpture "Fear", 25cm, ceramic, glaze
skulpture "Devil", 25cm, ceramic
skulpture "Mother", 60cm, concrete
skulpture "Mermaid", 35cm, ceramic, glaze
skulpture "Apostle", ceramic, glaze, wood
skulpture "Baby", fireclay
skulpture "Shadow", 30 cm, ceramic, glaze
skulpture "Good & evil", ceramic
skulpture 'Head' 50cm x 50 Paper mach
skulpture "Insect", 35cm, ceramic, glaze
skulpture "Bite", 30cm, ceramic, glaze
skulpture "Chocolate", ceramic
"Three women", 80cm, concrete
"Torso", 70x60cm, concrete
Sculptures in the garden
"manipulation" 25x18, ceramiek, wire
"Mickey", 70x60, concrete
next arrow
 

Icons

Watercolors

Nudes (watercolor)

Nudes (watercolor)

previous arrow
"Woman and a beast" watercolour, on paper 30x40cm
"Nude" watercolour on paper, 40x30cm
"Nu", 30x40, watercolour on paper
"Nude" watercolour on paper, 40x30cm
"Music" 52x36, watercolour on paper
"Nu", 52x36, watercolour on paper
"Francoise" 50x40cm , watercolour on paper
"Dream", 50x40, watercolour on paper
"Stella" 35x50cm , watercolour on paper
"Sleeping baby" watercolour on paper, 42x30
"Nude" watercolour on paper, 30x40cm
"Nude" watercolour on paper, 30x40cm
"Nude" watercolour on paper, 30x40cm
"Nude" watercolour on paper, 20x15cm
"Nude" 52x36, watercolour and pastel on paper
next arrow
 
Landscapes (watercolor)

Landscapes (watercolor)

previous arrow
"Christmas in Veere" 80x50cm, watercolor on paper
"Horses competition" 50x60cm, watercolor on paper
"At the field" 35x52cm, watercolor on paper
Horse 50x40cm, watercolor on paper
"Russian wooden architecture" watercouloir on paper
"Small bridge", 40x50 watercolour on paper
"Ladoga lake" 40x45 watercolour on paper
"Evening" 30x40 watercolour on paper
"Bridge", 40x50 watercolour on paper
"Apple tree" 40x30 watercolour on paper
"Alex", 40x50, watercolour on paper
"Terneuzen" 40x60cm, watercolour on paper
"Boats" 60x100, watercolour on paper
"Middelburg" 40x60, watercolour on paper
next arrow
 

The working method of Kalmaeva is realistic, based on observation. The oil and watercolor paintings of Kalmaeva are worked through pieces with attention to structure and especially composition. In watercolors and drawings, she usually uses a looser and faster method.

Still Lifes (watercolor)

Still Lifes (watercolor)

previous arrow
9d-flowers-at-the-window-water-color
9e-flowers-and-silver-pot-water-color
9f-flowers-in-the-green-vase-water-color
9h-cirkel-water-color
9i-china-rose-water-color
9k-memory-box-water-color
9l-still-life-on-the-chairwater-color
9m-flowers-at-the-window-small
book-1994
buketsmall
dol-watercolor
flowerssmall
naturesmall
roses-tif
shoping-backet-tif
still-life-with-doll-water-color
still-life-with-nest_0
next arrow
 
The theme “still life” is an inexhaustible source for Kalmaeva. The search for the mutual bond and the harmony between the different things that she can put down or lay remains an exciting activity, in which she gets all the room to express her views on the abstract values within her realistic way of painting. Kalmaeva paints modestly, retreats into her own world of memories. Her still-lives are well-painted oil and watercolor paints, nuanced and subtle in color.

Paintings

Phantasy

Phantasy

previous arrow
"Mother Russia and her children" 80x90, roil on canvas
"Rendes Vois in Paris" 60x80, painting on silk
"The Arc of Noah" 60x80, oil on canvas
"The Sheff" 100x100, acrylic on canvas, patch work
"Gipsy Girl" 60x40, acrylic on board
"Wonder Vase" 50x60, acrylic on board
"Little Lamb" 60x40, acrylic on canvas
"Dialog" 50x60, oil on canvas
"Dedicated to Pushkin" 90x80, acrylic on canvas
"The Earth on the Bulls" 60x50, oil on canvas
"Cat" 60x80, oil on canvas
"Dreamer" 60x40, acrylic on board
"Circus" 70x60, acrylic on board
"Green lady" 50x30, acrylic on wood
"Maskers" 60x50, acrylic on canvas
"Carnival" 60x50, oil on canvas
"Gladiator" 50x40, acrylic on board
"Theater" 70x60, acrylic on canvas
"Dreams" 70x50, acrylic on canvas
"Dansers" 80x45, painting on silk
"Circus", 90x60, painting on silk
"Cat" 60x80, painting on silk
"Rendes Vois in Paris" 100x150, acrylic on canvas
"Tasty Bread" 90x100, oil on canvas
"Fruits" 40x50, acrylic on board
"Still life with a Cat" 40x60, oil on hardboard
"Fantasy Island" 60x120, oil on canvas
next arrow
 
Landscapes – Painting

Landscapes – Painting

previous arrow
"Mill in Belarus" 50x70, oil on canvas
"The water-mill in Golshany" 50x70, oil on canvas
" Belarussian landscape in Strochitsa" 15x20, oil on cardboard
stackssmall
russian-church-in-the-willage-1small
night-in-gurzufesmall
" Belarusian landscape in Strochitsa" 15x20, oil on cardboard
"Gurzufe in Krym" 50x70, oil on canvas
"Belarusian landscape in Gory" 15x20, oil on cardboard
"Gory in Belarus" 50x70, oil on canvas
"Golshany, Belarusian landscape" 15x20, oil on cardboard
"Bridge in Zalesje" 40x50, litho
next arrow
 
The working method of Kalmaeva is realistic, based on observation. The oil and watercolor paintings of Kalmaeva are worked through pieces with attention to structure and especially composition. In watercolors and drawings, she usually uses a looser and faster method.
Nudes – Painting

Nudes – Painting

next arrow
"Model in artist's atelier", 40x50 tempera on paper
"Model", 40x30 acryl on canvas
"On a birch" , 20x16 oil on hardboard
"Eva", 40x30 acryl on canvas
"Dedicated to Renoir", 70x50, oil on canvas 2007 Renoir’s bathing beauty with her pearly skin-coloring is in harmony with the tiled toilet walls in the background.
”Dedication to Ingres”, 70X50, oil on canvas. 2002, The favorite model in a turban of French artist Ingres which appears in many of his paintings at my picture sits on a toilet bowl.
"Dedicated to Degas" 70x50, oil on canvas 2007
”Dedication to Botticelli” , 70x100, oil on canvas 2003
"Dedicated to Rubens", 70x50, oil on canvas 2004
"Dedicated to Velazquez", 50x70, oil on canvas
"Dedicated to Rodin" 70x50, oil on canvas 2007
previous arrow
 
Still-Lifes – painting

Still-Lifes – painting

3-still-life-with-vajang-pop-oil
4-catoil
5-cat1-oil
6-cat2-oil
8-still-life-with-a-plastic-sack-oil
9-still-life-with-old-shoes-oil
9a-fruitoil
9b-melonen-oil
9g-nina-oil
13
fair-tales
OLYMPUS DIGITAL CAMERA
pears-1986
russian-tea-1989
stillife-with-a-knife
"Dedicated to Magritte" 70x50, oil on canvas 2002 This painting shows a surreal Belarusian toilet with holes for three people and Magritte's shoes.
“Dedication to Lenin”, 50x70, oil on canvas 2006
“Dedication of Russian revolution”, 70x50, oil on canvas 2003 on a floor at bottom of a red toilet bowl is the broken crown of Russian autocracy.
”Dedication to van Eyck”, 70x50, oil on canvas, In an interior of a modern Belgian toilet the candelabra from a picture of the Flemish artist van Eyck is placed.
"Dedicated to Faberge" 2002, 50x70, oil on canvas
"Integration" 100x70 Pigment print, composition made on scanner
"Too long" 100x70 Pigment print, composition made on scanner
"Broken world" 100x70 Pigment print, composition made on scanner
"Beautiful Holland" 150x100, oil on canvas
"Tasty Bread" 90x100, oil on canvas
"Fantasy Island" 60x120, oil on canvas
previous arrow
next arrow
 
The theme “still life” is an inexhaustible source for Kalmaeva. The search for the mutual bond and the harmony between the different things that she can put down or lay remains an exciting activity, in which she gets all the room to express her views on the abstract values within her realistic way of painting. Kalmaeva paints modestly, retreats into her own world of memories. Her still-lives are well-painted oil and watercolor paints, nuanced and subtle in color.

Posters

previous arrow
Expo "Water Loo" at the municipal gallery in Vlissingen
Project "Portrait's of old people at home" Poster
Expo "Icons from the studio "By the mill"
poster "Expo Ludmila Kalmaeva 22.08-04.09 2011" Modern art museum of Belarus
poster
poster
poster "Expo Ludmila Kalmaeva 22.08-04.09 2011" Modern art museum of Belarus
Project "Plenty to go on"
poster
poster
poster
poster against barbarism, 90x60cm, 1975
plakat "Go ahead!" "Полный вперёд!" 1985
poster
poster for Belorussian theater "Берег" плакат для Белорусского театра им. Янки Купалы 1979 90x60cm
poster "Paulinka" for Belorussian theater 1979 90x60cm
Film festival in Polaczek 90x60, silk screen, 1991
poster for the Olympic Games 1979 120x80 Let us become Olympians!
poster "XX century" "Век ХХ" ансамбль пантомимы "Рух"
poster "35 years ESSR" "35 лет Советской Эстонии" Price winner of the poster competition 1974
poster "The week of music for the yang people" "Неделя музыки для детей и юношества" 1987 г
"Неделя музыки для детей и юношества" 1987 , Reproduced in the magazine "Maladost" 1991 Original poster in de collection of the National Art Museum of Byelorussia
poster "Charmers in Vlissingen"
poster " Студия фильмов для детей Белорусьфильм" календарь на 1991 calendar
poster for theatre "Трибунал" плакат для Белорусского театра им. Янки Купалы
poster
poster
poster for theatre "Хитроумная влюблённаая" Государственный театр музкомедии БССР 1978
poster "Creative psychological school", "Школа Психотворчества" 1991
poster "Operation "Dear Boy", theater of the Yours 90x60, 1976
poster
poster "Asol", theater of the Yong people 90x60, 1975
poster poster for international youth festival 120x80 1978
poster 90x60, 1975 "Фестиваль белорусских кинофильмов" "Belarusian films festival"
poster
poster "Charmers in Vlissingen"
poster "October revolution" 1977 90x60
poster 90x60, 1975
poster for the Belarusian theater
"Don Juane" poster for the opera theater
poster for Belarussian theater, 90x60 "Плач перепёлки" плакат для Белорусского театра им. Янки Купалы 1984.
next arrow
 

Projects

Project “De Rijdende Rechter”

Project “De Rijdende Rechter”

Detail
Project: Potraits of old people

Project: Potraits of old people

Detail
Project: Freedom4all

Project: Freedom4all

Detail
Project: Plenty to go on

Project: Plenty to go on

Detail

Biografy

Ludmila Mikhailovna Kalmaeva was born in Minsk, the capital city of Belarus, in 1946. Her keen interest in painting at school determined her way in life. …The family was preparing to celebrate Easter, cakes were being baked and eggs painted with dye made from onion skins. A visiting artist was scratching the surface of the painted eggs with a needle, and Lucia was watching in awe at how Christ’s stunningly beautiful face was taking shape… The girl held out her autograph album to the artist. With a sure hand, he made a quick color-pencil sketch of a blue tit pecking at a rosy apple; an evening landscape with haystacks, a blue forest and the rim of an orange sun, too … Impressionist style, they would say now.

That evening, the girl understood that artists hold power over the world. Pencil in hand, they could do anything. To be an artist was the best thing in the world! Ludmila’s mother took her to the children’s art school of Sergey Petrovich Katkov, a renowned teacher. In the studio, they painted still lives, landscapes, imaginative compositions – work molded artists. At home, Ludmila would spend whole nights in front of the easel; she also drew at school. The girl longed to create a kind of formula of an object, a sign which, like a letter, could be easily recognized and remembered. In class, she would make quick abstract drawings, trying to discern something special in them… With a few additional strokes, she made the picture clear to everybody. Thus, she practiced creating an expressive visual form. After school, L. Kalmaeva entered the Belarusian State Art and Theatre Institute, which in those years had no departments of painting, sculpture and graphics, so she had to choose one of the applied arts.

Ludmila opted for the textile ornament department. The teaching staff was comprised of interesting, talented painters and graphic artists: P. Krokholiov, F. Doroshevich, P. Maslennikov, and M. Vetik. For the first-year students, those masters were next to gods descending from heaven… They taught by the method of example, taking a brush or a pencil and adjusting the work. The girl spent four years at the department of applied arts, coming to an ever more distinct understanding that her vocation was graphic art. “My childhood’s dream was graphic art,” wrote the young artist. “The clear line of a drawing leads me into the world of exquisite invention – the world of mystery…” Ludmila dropped out of the Minsk Institute and went to Tallinn where she enrolled as a second-year student at the graphics department of the ESSR State Art Institute. The Baltic Republics had actually never been truly Soviet; the artists had not been constrained by directives “from the top”, they created freely and boldly. Just as free were the students’ relations with the professors – P. Luhtein, U. Okas, A. Hoidre. The world-known artists allowed young people to address them as “seltsimes” (comrade). The Estonian school of graphic art inculcated into the students a love of experiment and high professionalism. During her study period in Estonia, Ludmila Kalmaeva worked out her own approach to drawing. The teachers said, “Put your strokes according to the form”.

But the sheet of paper has no volume, while nobody puts strokes on real objects. This contradiction bothered the student, who gradually developed her own philosophy of drawing – a system of transposition of real volume into a depicted one. …A line, fine and sharp, assembled in a bunch, makes a blotch, and a scattered line turns into a chaos and abstraction. From chaos, an object can be recreated to be turned into an assemblage of strokes again… Thinning out and thickening strokes create bulges and hollows, relief on a flat sheet of paper. All this is illusion. It exists only in our mind and depends on our fantasy.

Later, the artist applied to color works her conceptual approach to form. She studied for nearly ten years. Ludmila learned a lot of things and worked out her own principles and convictions. She had evolved as an artist. A ripe fruit falls from the tree. Ludmila returned to Minsk. An artist’s first steps in the USSR… The state system brought pressure to bear upon a person, directing creativity into a politicized channel. Pictures and posters were subjected to ideological control. The artist who came back from Estonia (nearly the West!) was not given a chance: her posters were not printed; her pictures were not bought… She had difficulty earning a living. As years passed, Ludmila Kalmaeva was exhibiting, and her works attracted the public with their fresh and original artistic thinking as well as perfection of craftsmanship.

L. Kalmaeva was invited to teach at the Belarusian Academy of Arts. Teaching students proved a vocation for Ludmila, alongside creative work. She used new methods of teaching (role play and team work) and actively attracted students to “adult” creative activities – participation in international, All-Union and Republican competitions, publishers’ commissions, theatre posters, exhibitions… Students worked on an equal footing with their “seltsimes” – the teacher. The results of the new teaching approach were convincing. In 1977, V. Sidorova won a prize in the Republican Environmental Protection Poster Competition for her course project. Many of L. Kalmaeva’s students took part in the international poster competitions of 1978–1981: “1980 Olympics”, “Soviet–Polish Friendship”, and “Red Cross in Struggle for Peace”. V. Scherbin’s poster on environmental protection (course project) was published by the “Belarus” Publishing House. N. Belevich, I. Golubenko, A. Drozd, E. Lis, A. Los, and V. Scherbin in 1981 became prize winners of the Republican Fire-Prevention Poster Competition for their course projects. In 1982, A. Drozd got an award of the Republican “Red Book” Poster Competition. O. Karpovich and V. Rulkov presented their course projects at the 1984 “Peace and Security” International Competition. Ludmila Kalmaeva gained renown in her native land. Repeatedly, she won awards at All-Union and Republican poster competitions, such as the All-Union Health-Protection Poster Competition (1978), the International “Moscow Olympic Games-80” Poster Competition (1979), the Republican “Poster Struggling for Peace” Competition in Minsk in 1987… For high achievement in her artistic and teaching work, Ludmila Kalmaeva was awarded the medal “For Labour Distinction” in 1986. Moscow, Riga, Tashkent, Brno, Warsaw, Oslo, Sofia, Paris, Damascus, Dublin, Lahti, Reykjavik, Osaka, Sidney – L. Kalmaeva’s works have been displayed in many cities of the globe. As for Ludmila herself, she lived in Minsk and had never been abroad… A person has only one life… But if one moves to another country – there appears an opportunity to live another life ‘from scratch’. In 1991, on marrying Brian Tordoff, an Englishman, Ludmila left for Holland with him. The climate and nature as well as the people’s appearance and mentality – everything was different for the Belarusian woman.

She had to adjust to everything: learn Dutch, furnish her home, find a job and a studio… And the main thing – she had to go on creating under the new circumstances. “During the first years of my life in Holland I found myself in complete social isolation. I had no contacts whatsoever with any artistic associations. I had no earnings of my own,” recalls Ludmila. The artist worked in the streets of her town of Vlissingen. Passers-by, those willing to have ‘they painted’, were queuing up. Half an hour of strenuous work – and there came a portrait painted in pencil, sanguine, charcoal or watercolor. It was a meagerly paid job, for painting was treated as play… It was not easy to make one feel at home in the foreign world. Only years after did L. Kalmaeva open the door of her own studio where she began to teach painting pictures and icons. Students of the “By the Windmill Studio” are adults and pretty wealthy, too. They consider fee-paying classes a good investment. Growing a creative seed in an ordinary adult is quite feasible.

Ludmila Kalmaeva is convinced of it, having developed her own original system of teaching. “Each person is somewhat of an artist,” considers Ludmila. She is going to register the copyright on her teaching methods. In her home country, Ludmila enjoyed painting landscapes. “Belarusian nature is spontaneous, romantic, and seems perfect. In Holland, everything is trimmed, orderly, artificial, and stirs little emotion,” says the artist, who stopped painting from life. A fictional world, full of harmony, light and color, has substituted for the foreign reality; fantastic, fanciful images seek to be embodied. Carnival, circus, fairy-tale… Improvisation and intuition form an important part of the artist’s work. “I work intuitively, without a plan. I cover the surface of the canvas with rhythmical color blotches… This rough product helps me immerse myself in the unconscious… Looking at the canvas, I begin to see random images. I help them to transpire… Then I am carried away into a world of fantasy, forgetting where I am and what I am! But the vague shocks from sub consciousness finally stop…”

The artist puts the brush aside. Some time later, she resumes the interrupted work, trying to enter that world of hers, attentive to her senses… So, it goes on until Ludmila decides that there is nothing more to add. Everything has been said – the work is ready. The master calls her working method “meditation with the canvas”. Work helps the artist live. Natalia Gromyko Ludmila Kalmaeva If a world-famous artist appeared at Ludmila Kalmaeva’s exhibition, he would be likely to address her as “Master Ludmila”… Master Ludmila, allow me to bless your hands… In our time, when we are so short of professionalism, when the fever of amateurishness has spread onto the holy of holies – art, your creations come as a real miracle… “It is an artist’s duty to keep one’s soul tense,” says Ludmila. Her muse is a toiler, a martyr with burnt wings and a deep introspective gaze. “Talent means kindness; it is humanity, a force that unites people…” L. Kalmaeva’s works are known and admired not only in her home country but also in Finland, France, Germany, Syria, the Czech Republic, Poland… “In the future, I suppose, every person is going to be a creator of both the surrounding and the inner world…” And Ludmila Kalmaeva creates, reopening to us the light and shade of existence… I would also call her “a master”. If I did not know her personally. Gentle and so womanly, in the profound and wise sense of the word… Galina Bogdanova]]>

Bad Behavior has blocked 18 access attempts in the last 7 days.

By continuing to use the site, you agree to the use of cookies. more information

The cookie settings on this website are set to "allow cookies" to give you the best browsing experience possible. If you continue to use this website without changing your cookie settings or you click "Accept" below then you are consenting to this.

Close