Ghenadie Sontu

 Дорогие друзья, мы записываем детей и взрослых на занятия по рисунку и живописи в Хайфе.

Программа обучения рисованию рассчитана как на желающих начать рисовать “с нуля”, так и на тех, кто хочет закрепить ранее приобретенные навыки. На обучение рисованию принимаем всех желающих – детей, подростков, взрослых и людей пенсионного возраста. Пройдя наши художественные курсы живописи и рисования,  вы очень быстро наберетесь мастерства для создания своих неповторимых авторских работ.

Интенсивность и длительность занятий : 1,5 часа, 2 раза в неделю.

Техники: 

Живопись: акварель, акрил, гуашь, масло
Рисунок: графика, пастель, эстамп, монотипия
Kерамика: лепка, мозаика, полимерная глина

Цена курса :

Групповые занятия для детей 4 - 15 лет - 250 шек./месяц, это 8 уроков по 1,5 часа = 12 часов в месяц. 

Время занятий::

для детей 4 - 9 лет: вторник- четверг: 15:00 - 16:30, 17:00 - 18:30.

для детей 10 - 15 лет: понедельник: 17:00 - 18:30, среда: 17:00 - 18:30.

Групповые занятия для взрослых от 16 лет и старше - 300 шек./месяц, это 4 уроков по 2,5 часа = 9 часов в месяц.

Занятия в воскресенье: 8:30 - 10:30. 

Индивидуальные занятия для взрослых от 16 лет и старше - 100 шекелей в час. Минимальный пакет из 5 уроков стоит 500 шекелей. Занятия проводятся в удобное для вас время, утром или вечером.

Спешите, количество мест ограничено!

Keshet Tslilim

Хайфа, ул. Тель-Авив 11, 2-й этаж

Tel: 054 344 9543

https://www.ghenadiesontu.com/workshops/

This is your one-stop source for Ghenadie Sontu open and limited edition paper and canvas art prints. We offer a collection of Ghenadie Sontu art at incredibly low prices!

Ghenadie Sontu is a Christian artist that offers exquisite inspirational artworks, realism oil paintings portrays Christian values and biblical themes. Ghenadie Sontu's paintings have been successful in reaching the spirituality of many of art collectors throughout the world.

Ghenadie Sontu, has dedicated his talents to the task of proclaiming the "Good News" of the Gospel. His passion is to create a collection that present a series of children’ portraits with names from biblical genealogy, such as “Adam”, “Abraham”, "Moses", “Joseph”, ”David”, “Debora”, etc. – personalities whose identities had a strong impact in the humankind history.

For more information about the artist, please visit the Ghenadie Sontu biography page.

If you are interested in the artworks of Ghenadie Sontu, please call us 
+373 79574875 to receive the lowest prices for our prints as well as Ghenadie Sontu new releases!

Original Artworks are for sale. Please Contact Artist for further information. Limited Edition Fine Art Giclee Printsand Prints on canvas are available for sale for select paintings. GHENADOR GALLERY accepts payment by Western Union and VISA CARD. All prints are limited editions and each is carefully supervised and approved by the artist. Each reproduction is individually signed and numbered by the artist and comes complete with a certificate of authenticity and embossed with a seal. All reproductions are printed to order and can be purchased directly from the artist. Shipping & Handling The listed price does not include shipping and handling. $25.00 will be added for shipping and handling to all orders. Orders will be processed upon receipt of payment. Each print is printed one at a time on-demand and shipped rolled (unstreched and unframed). Please allow 2 to 4 weeks for production and shipment. About Giclee Prints The French term "Giclee" means to spray, and refers to the digital process of producing fine art prints with archival inkjet printers. The most recent second generation of giclee print machines are made by Roland, Matoh, Epson and Mimaki. The prints often use eight color processes and pigment based ink sets with a resolution of 1400dpi. They produce the giclee more often encountered by the collector since the inks are very stable and lightfast when used on canvas. Differences between Iris and Roland Giclee prints: The difference between Roland and Iris giclee prints is that Roland uses Roland pigmented archival inks, while Iris uses dye-based archival inks. These pigmented inks are different from dye-based ink. According to Brian Boley of ASCI Bulk Inks, dye-based inks flow better than pigmented inks, thus it is possible to produce more shades of gray than any other printer. However, the dye will re-dissolve and the ink will flow across the paper or canvas if hit by drops of water. Pigmented ink particles tend to settle into the tiny fibers that make up the paper or canvas. As the ink dries, the pigment particles get stuck in the fibers making the pigmented inks more water resistant than the dye-based inks. I have chosen to use Roland Giclee prints since it is better suited to obtain the bright colors that match the original work. Pigmented inks are able to produce blighter color than dye-based inks. Each reproduction is carefully printed with Roland pigmented inks on Bulldog fine art glossy canvas (poly-cotton), which has a good texture and similar qualities to traditional artist canvas. After printing, the canvas is coated with Bulldog Ultra, a semi-gloss UV coating, to make it waterproof and protect the print from fading. It is extremely resistant to yellowing and cracking. The longevity of such a reproduction can be over one hundred years when properly stored and displayed. Digital files are created from the original and carefully color balanced to match the original work. The colors and prints are supervised and approved by the artist. Each reproduction is individually signed and numbered by the artist and comes complete with a certificate of authenticity and embossed with a seal from the printer.

Original Artworks are for sale. Please Contact Artist for further information. Limited Edition Fine Art Giclee Printsand Prints on canvas are available for sale for select paintings. GHENADOR GALLERY accepts payment by Western Union and VISA CARD. All prints are limited editions and each is carefully supervised and approved by the artist. Each reproduction is individually signed and numbered by the artist and comes complete with a certificate of authenticity and embossed with a seal. All reproductions are printed to order and can be purchased directly from the artist. Shipping & Handling The listed price does not include shipping and handling. $25.00 will be added for shipping and handling to all orders. Orders will be processed upon receipt of payment. Each print is printed one at a time on-demand and shipped rolled (unstreched and unframed). Please allow 2 to 4 weeks for production and shipment. About Giclee Prints The French term "Giclee" means to spray, and refers to the digital process of producing fine art prints with archival inkjet printers. The most recent second generation of giclee print machines are made by Roland, Matoh, Epson and Mimaki. The prints often use eight color processes and pigment based ink sets with a resolution of 1400dpi. They produce the giclee more often encountered by the collector since the inks are very stable and lightfast when used on canvas. Differences between Iris and Roland Giclee prints: The difference between Roland and Iris giclee prints is that Roland uses Roland pigmented archival inks, while Iris uses dye-based archival inks. These pigmented inks are different from dye-based ink. According to Brian Boley of ASCI Bulk Inks, dye-based inks flow better than pigmented inks, thus it is possible to produce more shades of gray than any other printer. However, the dye will re-dissolve and the ink will flow across the paper or canvas if hit by drops of water. Pigmented ink particles tend to settle into the tiny fibers that make up the paper or canvas. As the ink dries, the pigment particles get stuck in the fibers making the pigmented inks more water resistant than the dye-based inks. I have chosen to use Roland Giclee prints since it is better suited to obtain the bright colors that match the original work. Pigmented inks are able to produce blighter color than dye-based inks. Each reproduction is carefully printed with Roland pigmented inks on Bulldog fine art glossy canvas (poly-cotton), which has a good texture and similar qualities to traditional artist canvas. After printing, the canvas is coated with Bulldog Ultra, a semi-gloss UV coating, to make it waterproof and protect the print from fading. It is extremely resistant to yellowing and cracking. The longevity of such a reproduction can be over one hundred years when properly stored and displayed. Digital files are created from the original and carefully color balanced to match the original work. The colors and prints are supervised and approved by the artist. Each reproduction is individually signed and numbered by the artist and comes complete with a certificate of authenticity and embossed with a seal from the printer.

This is the second hour that I am sitting on the Internet. Again I am looking at Samson. He is a nice boy: thick short hair just gaining strength, soft eyes, but in his body you feel a power. What about Delilah? Sunny day, a narrow face, long thick bangs, naughty pony tails, Cupid’s bow. I can’t see her knees but they should be injured. Who could think, looking at her, that in fifteen years she would treacherously betray Samson and would help the Philistines? Yesterday I saw the originals. I was hooked. It’s such a strange feeling as if I were pulled out of the present and moved somewhere to eternity. It is so good to look at these pictures. It’s not joyfully, no sad. It is a strange combination of feelings…Maybe that is why I am still looking at Samson after two hours. “In any sense I think of myself as the envoy of each image drawn by me” says the artist. He could be a rabbin with his ancient eyes and silent voice. And he draws pictures, collects and prints photos, and also leads public work. But if pictures and photos suit the image of Gennady, his public activity does not enter the framework of my perception in any way. Not many people in our country know Shontsu. His pictures leave Moldova and travel all over the world. Paradoxes of today: for us art is a luxury, but “salute the global network that allows art to be commercial! I like all of Gennady Shontsu. Probably his pictures are aesthetic, even a picture of the Kishinev pogrom of 1903. Besides that they are deep and significant. I like everything, but I am looking at the children. Adam, David, Joseph, Deborah, Rebecca…Gennady speaks of genealogy, from our ancestors down to us. And we are all one big family, and we are children in it. Portraiture has lost in importance since the days when the nobility ordered their images to grace the interiors of their houses. Conceptual painting is more pleasant for the viewer because the imagination can range, even if they are actually and difficult simultaneously. You may catch an essence of the subject - or not, especially, if it is the portrait of a child. We need such aids to understanding. But why does he draw biblical characters at such a tender age, when they have not yet done anything – neither good, not bat? Is it some kind of rehabilitation? Shontsu answers: “This rehabilitation does not give them new features. When I contemplate David, for example, I show the person. Even he is still forming. Nowadays, when people lose themselves, turned into social-political robots, such images are essential. Such images are very actual, yesterday, today and tomorrow. Up to a certain age… if you combine the personality, integrity and the heart, you can show a result. It is only possible to find a pure form of result in children.” His boys are sad and his girls are cheeky. So it seems to others. Gennady smiles. It’s only impression. But “his” children are beautiful and alive, even if he takes, a few liberties; they are children who blush when they lie and who can’t deceive. In the socio-political gallery there is a king, with two crowns, real and false. In his hands there is a violin and a spoon. The violin is a sign of intelligent people; the spoon is a symbol of the crowd. The spoon torments the fine strings. Associations rise in my mind… “The Requiem 1903, Kishinev” is lines of empty theatre seats, just seats. But it represents a scream. There are light, touching landscapes. A red wood, a real mill on Pushkin hill, trembling birches, still-life’s, dark in appearance, but someone likes them. It is said that his art is not modern, because it perfectly suits museums, but is not suitable for self-important offices. Museums are poor; designers of offices prefer abstracts that contrast with the office equipment. By the way, how can Samson survive near a printer? But foreign collectors of painting are very active. It used to be very painful for him to sell a picture, but now he is accustomed to it. Sometimes he has refused to sell a picture: “Some people think they can buy anything, from yachts to political parties. They may be right, but not concerning art. A picture enters other scale of values.” Is there something to add to this? Only that Shontsu carefully studies the buyer; he wants to be sure that his pictures are in good hands. Some Americans, Spanish have been unable to buy a picture from the Moldovan artist. Inna Zheltova Open Skies Magazine Nr 6(11) December 2005

Did you know on an average week I may be approached by as many as 20-35 artists looking for gallery representation? Most of them are ineffective. Are you making the same mistakes?

Before I explain, let me introduce myself. My name is Jason Horejs. I have owned Xanadu Gallery in Scottsdale, Arizona, for more than eight years.

In August, I published my book, "Starving" to Successful | The Fine Artist's Guide to Getting into Galleries and Selling More Art. The information I share is intended to help artists like you approach galleries in an organized, systematic and professional manner.

For starters, when seeking gallery representation, you are well advised to avoid the following common mistakes:

Mistake #1: Presenting an inconsistent body of work.

Artists generally love their freedom. They want to experiment. They love a challenge. They crave variety. All good things, except when you are presenting your work to a gallery.

The work you present to a gallery needs to be unified. It doesn’t need to be repetitive or formulaic, but it must present you as a consistent artist with a clear vision.

Often I feel I am looking at the work of multiple artists as I review a single portfolio. To avoid this problem you need to find focus in your work.

If you work in several media and a variety of styles, focus on just one for the next 6-12 months. Create a body of work that feels like a “series”. Once you have 20-25 gallery-ready pieces in this series, you will be ready to approach a gallery.

You can further create consistency by presenting the work in a cohesive way. Use similar frames for all of your paintings or photographs, similar bases for your sculptures, or similar settings for your artistic jewelry. Make it very clear all of the work is by the same artist.

If you simply can’t rein your style in, consider creating multiple portfolios, one for each style.

Don’t confuse the galleries you approach with multiple styles in your portfolio.


Mistake #2: Producing insufficient work to sustain gallery sales.

Many artists create marketable work, but in quantities too low to make a gallery relationship viable. Successful artists are consistently in the studio creating artwork. You may be surprised to learn the results of a recent survey I conducted.

I asked artists how many new works they created in the last twelve months. Painters responded that on average they were creating 53 pieces every twelve months; sculptors 31; glass artists 500!

Gallery owners need to feel confident you will replace sold art quickly and maintain high quality. They want to know that if you are successful you can replenish their inventory.

Don’t despair if you are far from reaching this goal. Rather, look at your creative production for the last year and set a goal to increase the production by 25% in the next 12 months.

Several suggestions to increase your productivity:

1. Dedicate time daily to your art. Maybe your schedule will only allow for two hours daily, but you will produce more by working for those two hours every day than you will by waiting for big blocks of time. Treat your studio time as sacred. Train your family and friends to respect that time. You don’t interrupt them when they are at work; ask them the same courtesy when you are in the studio.

2. Set a production goal. If I could tell you the secret to producing 50, or 100 pieces per year, would you listen? Here it is: create 1 or 2 pieces per week. I know it seems overly simple, yet few artists work in a concerted, disciplined way to achieve this goal. (A common objection I hear to this suggestion is that quality will suffer if an artist works this quickly. In my experience, the opposite is true. A certain level of quality may only be obtained by putting miles on the paintbrush, spending hours in the darkroom, moving tons of clay or stone.)

3. Remove distractions from the studio. Move your computer to another room. Unplug the telephone. Nothing kills an artist’s focus faster than the constant interruption of technology. Your inbox and voicemail will keep your messages safe while you work.

Mistake #3: Delivering a portfolio in a format inconvenient for gallery review.

Often your portfolio is your only chance to show your work to a gallery owner. Poorly formatted portfolios are rarely viewed. Your portfolio should be concise, simple, informative and accessible.

25 years ago, formatting a portfolio was simple. A portfolio was either a literal portfolio with sheet protectors and photos, or a slide sheet.

The choices have since multiplied. CD? Digital hardbound photo-book? .Pdf file? Email? Which format is the most effective? None of these, actually. Each has drawbacks limiting effectiveness. They are either too much work for the gallery owner to access, too easy to delete, or too hard for you to maintain.

In my book I will show an example of a perfect portfolio. Easy to maintain, easy to share. Successful.

A couple of things to keep in mind with your portfolio:

1. Your portfolio should contain no more than 20-25 of your most recent works. You should not create an all-inclusive portfolio. A gallery owner does not want to see your life’s work. They want to see your best, most current, most relevant work.

2. On each page you should include pertinent, relevant information about the art. Include the title, the medium, the size, and the price. Don’t include the date of artwork creation.

3. Place your bio, artist’s statement, and resume at the back of the portfolio, not the beginning. Your artwork is the most important feature of the portfolio, don’t bury it behind your info. Limit press clippings, and magazine articles to 2-3 pages.

4. Include 2-3 images of sold artwork. You should try to include at least one photo of your artwork installed. These images will establish your credibility more rapidly than any resume ever could.

In "Starving" to Successful I will teach you how to create a powerful portfolio. Your new portfolio will end up in gallery owner’s hands, rather than in the garbage can.


Mistake #4: Lacking confidence and consistency in pricing.

One of the greatest challenges facing you as an artist is knowing how to correctly value your work. Many artists price their work emotionally, and inconsistently. Galleries can’t sell wrongly priced art.

Worse, nothing will betray an unprepared artist like not knowing how to price his/her work.

Many artists mistakenly under-price their work. They do this because they feel they are not established. They do it because their local art market won’t sustain higher prices. They do it because they lack confidence in their work.

In the book I will help you come up with a consistent, systematic formula for pricing your art.

Is your work priced correctly?


Mistake #5: Approaching the wrong galleries.

My gallery is located in an art market dominated by Southwest and Western subject matter. My gallery stands apart from most of the galleries in Arizona because I have chosen art outside the norms. Yet I am constantly contacted by Western and Southwestern artists. They seem surprised and hurt when I turn them away. They could have saved us both some discomfort by researching my gallery before approaching.

Which markets should you approach first? How should you research the galleries? Is it safe to work with galleries in out-of-state markets?

"Starving" to Successful will teach you how to create a list of qualified, appropriate galleries to contact (I will also teach you how to approach them).


Mistake #6: Submitting art through the wrong channels.

Conventional wisdom, and even some highly respected art marketing books will advise you to send your portfolio with a cover letter to the gallery. You may also hear it's best to call a gallery and try to make an appointment to meet the owner. You might visit a gallery's website to learn of their submission guidelines.

In my experience, these methods all guarantee failure. I will share with you a more direct, simpler approach; this approach will tremendously improve your chances of success. The approach is no secret, and yet most artists don’t employ it.

J. Jason Horejs
Owner
Xanadu Gallery

Artists everywhere work hard to sabotage their careers, compromise their reputations, make sure they never get shows, ignore the advice of dealers or advisors or coaches or consultants or anyone else knowledgeable about how the business works, all in order to maintain art world statures of consummate anonymity. In order to help streamline the process of failure, and as a public service to all artists who cherish oblivion, I hereby offer the most expedient means of attaining and solidifying lifelong positions among the ranks of the unknown. So are you ready to go nowhere? Excellent. Here's all you have to do:
* Spontaneously introduce yourself to anyone you think has any standing in the art world and/or any ability-- real or perceived-- to buy, sell, broker, critique, review, advance, or otherwise represent you or your art. Make no attempt to explain why you're introducing yourself, how you know who they are, what the purpose of your introduction is, why you or your art is relevant to what they do, what you expect to accomplish by speaking with them, or what they can expect to accomplish by speaking with you.
* Pay no attention to how disinterested anyone might be in either learning about your art, hearing your life story, or continuing any type of conversation regardless of the content. Just keep talking.
* Whenever and wherever possible say the following: "Hi, I'm an artist. Would you like to see my art?" You can do this in person, by phone, by email, by mail, etc.
* Whenever and wherever possible, ask people to look at your art, and then once they're looking at it, say the following: "So what do you think of my art?" You can do this in person, by phone, by email, by mail, etc.
* In case anyone expresses interest in seeing your art or visiting your studio, make sure you have fewer than twenty pieces of finished work. The less you have, the better.
* Even though you have less than twenty finished works of art, continually contact dealers and galleries everywhere and ask for solo shows.
* Whenever you finish a work of art, wait for at least two weeks before you start a new one. This technique not only keeps your oeuvre low, but also assures that you're continually out of practice.
* Even though you may be relatively early in your career, have had few or no gallery shows, or have not yet established a reputation where you live or make art, email random requests to dealers and galleries all over the world asking them to show, buy, broker, or represent your art.
* Even though you're not yet well known where you live or make art, present your art to the best galleries in your area, or better yet, to the best galleries the world. Make sure these galleries exclusively represent nationally and internationally renowned artists.
* Buy mailing lists of art dealers, collectors, critics, curators, and galleries for hundreds of dollars. Then spend thousands of dollars printing up promotional materials and doing impersonal mass mailings to introduce yourself and your art.
* Pay to show your art at galleries that charge to exhibit your work. The more expensive they are, the better. Not only does nobody take these galleries seriously, but you'll also sell nothing... and... you'll go broke faster.
* Pay to be included in so-called books, magazines, or directories of promising artists, international artists, whatever. Not only does nobody take these publiciations seriously, but combined with paying for shows, you'll go broke faster yet.
* When you contact a dealer or gallery either in person or by mail or email, simply say you're an artist looking for representation. Make sure they have no idea why you're contacting them (other than that they're an art gallery and you're an artist). Also make sure you have no idea why you're contacting them (other than that they're an art gallery and you're an artist). Have no idea what kind of art they show, whether they sell the kind of art you make, whether your art is priced comparably to the art they sell, or whether your resume compares favorably with those of the artists they represent.
* Begin all mail or email correspondences to dealers or galleries with salutations like, "Dear Sir or Madam, " "Dear Gallery Director," or "To Whom it May Concern." That way, the recipients can be sure you either have no idea who they are, you don't care who they are, or you don't think it's necessary to know who they are.
* Send out random emails to galleries, dealers, etc. that contain only the URL of your website and nothing else.
* Send out random emails to galleries, dealers, etc. with nothing but 10 megabytes of images of your art and the text, "If interested, please email me," however to really do this one right, leave out the word "please."
* When you present your art, make sure you have no coherent or unifying explanation for what you do, why you do it, or what your guiding principles are. Also make sure you're totally disorganized. Show everything you've ever made, no matter what it looks like, whether or not you think its any good, whether or not it relates to what you're making now-- and make sure it's not in any order. Make no attempt to point out any connections, similarities, or continuities between any examples of your work.
* Even though you're not that well known, spend thousands of dollars building a website. Ignore the fact that finding you, your art, or your website on the Internet will be almost impossible except for people who already know you. As soon as your website is finished and online, believe that sales will just roll in, and make no further attempts to show or sell your art anywhere in the physical world.
* Make sure you provide no contact information for yourself on your website, only one of those forms where you fill in fields and click a "submit" button. The less personal information you provide, the more reluctant people will be to contact you.
* Think that all you have to do to get known is stay in the studio, create art, show that art to no one, and make little or no effort to meet anyone in the local art community. Instead, believe that someday you'll be discovered.
* Make sure you have no artist statement, no explanation for why your art looks like it does, what it represents, how it's evolved over time, or why you make the kind of art you make.
* Make sure you have no idea how to price your art. If someone asks you how much a piece of your art costs, tell them you don't know. Or you can ask them how much they think it's worth. If they suggest a dollar amount, stand there and say nothing.
* If your art is priced and for sale and someone asks you why a certain piece costs as much as it does, either tell them that's how much it's worth, that's how much you want for it, or that you don't know.
* Never ask for feedback about your art. If anyone gives you feedback, ignore it. This way, you'll have no idea what people think about your art, whether they understand it, whether they like it, whether it comes across as effectively as you think it does, or why anyone would want to show or own it.
* Complain about dealers, other artists, your lack of being recognized, ignorant collectors, and as many other aspects of the art world as possible.
* Whenever you have an appointment to show your art, make sure you're late. Better yet, cancel the appointment once or twice first; then make sure you're late.
* If you've got a deadline to have your art ready for a show, miss it. If you've got a deadline to have your statement, bio, or resume ready for a show, catalog, or website, miss it.
* Assume that everyone understands your art as well as you do. Assume also that understanding your art is the viewer's responsibility, not yours.
* Answer "no" to as many questions about your art as possible.
* Correct people's "misconceptions" about your art as often as possible.
* When someone asks a question about your art, instead of answering it, ask a question right back.
* If you get a show, contact other "better" galleries as soon as possible and tell them about your show, but then say you'd rather show with them.
* Make sure that dealers who currently represent or show your art have no idea you can hardly wait to blow them off and move on to someone better.
* Make sure not to cultivate or respect any business relationships or agreements, especially ones that work.
* Believe that if one gallery or dealer can sell your art, that all galleries or dealers can sell it.
* Believe that your art sells itself, not the gallery or dealer who's selling it for you.
* Talk about attorneys, suing people, your legal rights as an artist, what happens if someone crosses you, that you don't want anyone reproducing images of your art, that you don't want anyone photographing your art, that you keep names on file of everyone who gets sent images of your art, and so on.
* Try to figure out as fast as possible whether the person you're talking to is worth talking to. If you decide they're not worth talking to, leave immediately.
* Ignore any suggestions anyone makes about any aspect of how you present yourself or your art.
* And last, but certainly not least, never do anything for anybody unless there's something in it for you.
There you go-- your first class ticket to pfffft. Good luck!!


osoqartworld.html

Launched in 2008, the DeVos Institute’s Summer International Fellowship offers international not-for-profit arts managers an immersive program of study in arts management strategy. For four weeks each summer, for three consecutive years, international fellows participate in seminars, group projects, individual mentorships and practical rotations supervised by Institute faculty and Center senior staff. In their home countries, fellows are encouraged to teach and distribute fellowship resources. In this way, the Institute invests in critical arts ecologies worldwide, building strength and sustainability one manager at a time.

The ARS DOR Association is among the selected organizations involved in the DeVos Institute Summer International Fellowship Program at the Kennedy Center, represented by Ghenadie Sontu (Moldova)

The Kennedy Center has hosted 54 Fellows in four classes from 36 countries. As one of the largest, busiest performing arts centers in the world, the Kennedy Center and its leadership have developed extensive expertise in strategic planning, artistic planning, board management, marketing, fundraising, and financial management.

Founded in 2001 by Kennedy Center President Michael M. Kaiser, the DeVos Institute leverages this expertise to train, support, and empower arts managers and their boards locally, nationally, and internationally.

Since its inception, the DeVos Institute has advised hundreds of organizations throughout the United States, as well as individuals, organizations, governments, and foundations in nearly 70 countries on six continents.

The Institute operates on the premise that while, as a culture, we spend heavily to encourage artistic talent, too little is spent to train the managers who keep those artists at work. In areas hard hit by the recent economic downturn, this need is especially urgent and is amplified by the rapid technological and cultural change affecting arts businesses everywhere around the world.

To address this gap, Institute programs partner with public and private leadership in diverse, challenged, critical arts communities worldwide to provide training and support for the arts leaders of today and tomorrow.

It’s a hot market—and a supremely risky one
By LIZ WOLGEMUTH

Real estate is in the tank and stocks are lower than they were in 2000, but oil—as in oil paintings—has remained a roaring bull market. Watercolors, too. Indeed, the art market's huge gains of the past seven years must look pretty attractive to anyone with an eye toward diversifying a portfolio with a Josef Albers print or a Franz Arthur Bischoff oil. And while some investors have worried that America's economic slump might spread from subprime to Sotheby's, estimated proceeds of about $1.8 billion at the annual spring auctions in New York offer reason for optimism. The United States may be in a funk, but booms in places like Russia, the Middle East, and Asia have helped keep demand high.

There's no question that the upside of art investing can be way, way up. An untitled Jean-Michel Basquiat painting—purchased by New York collectors Barbara and Eugene Schwartz in 1981 for $3,150—sold at Sotheby's last year for $14.6 million to benefit a museum. If that original amount had instead appreciated in step with the S&P 500, its value would have been about $36,000 in 2007. But for every Basquiat with breathtaking returns, there are thousands—millions?—of paintings sitting bashfully in attics or boastfully on walls, worth even less than some admiring buyer paid for them years earlier. So is it foolishness for the average boomer with some savings and a little spare time to try to buy beauty with the parallel goal of building wealth for retirement?
Not if you ask Walter Manninen, a 53-year-old collector and former executive who now is a senior business adviser in the small-business-development center at Salem State College in Massachusetts. Manninen grew up in the nearby artists' magnet of Cape Ann and began buying art with his grocery money in his early 20s. "I grew up with art in my backyard, but I wasn't born with a silver spoon in my mouth," he says. His purchases—each, in the beginning, no more than $2,000 to $3,000—now are one of his most valuable assets. As investments, his collection has "really outperformed everything," he says, stocks, bonds, and real estate included.
Art's popularity as an investment tool may, in part, have grown out of its success as a hedge against inflation. But any investment professional will tell you it's an ultrarisky asset. That includes Manninen, who has an M.B.A. in finance. He views his purchases, in part, with a banker's eye: Each brings great pleasure, and each adds value. A self-educated collector, he began by reading art magazines and journals, researching artists—and their place in the art world—and scoping out galleries and museums when he traveled. When he buys, he considers elements like a piece's physical condition and chooses works that were created in an artist's prominent medium and subject matter—a landscape painting from a landscape painter, for example. He also relies on the savvy of close advisers.
Manninen's experience offers a key lesson: Art buyers need to do their research if they want their works to appreciate over time. If you walk into a gallery and throw money around, the odds are against your buying a piece that will appreciate. For one thing, the art world is fickle. Contemporary pieces from 20th-century artists like Mark Rothko and Andy Warhol were major sellers last year, with buyers ponying up as much as $73 million for Rothko's White Center. But next year's tastes would be tough to predict.
There are many other variables that contribute to the value of a piece, including its provenance, its condition, and the sales history and experience of the artist. The Internet has made it much easier to track down many of those details and be an educated collector.
There are some unexpected drawbacks in the form of additional costs for things likeinsurance, climate-controlled storage, maintenance and cleaning, auction buyers' premiums (generally between 10 and 25 percent), and taxes. Liquidity is always an issue when it comes to art, and a recession may even make it worse, as some buyers drop out of the market for a time. Manninen, however, sees that as a "perfect opportunity" to buy American art in a down market.
Alternative. The slowdown so far seems to have had minimal negative effect on the art market. It may even be encouraging more participants. In England, the Royal Institution of Chartered Surveyors reports that art and antique prices were up in the first quarter, largely because the "volatility of the financial markets appears to be encouraging consumers to switch to alternative investment opportunities." The high end of the market is particularly strong, while lower-end collectors may be reining in some of their spending.
Last year was the seventh consecutive year of price appreciation, Artprice said in its annual art market report. Total fine art market revenue soared 44 percent to $9.2 billion in 2007, "a veritable annus mirabilis for the art market," Artprice said. Sotheby's held a record-breaking $316 million sale in November, and the Mei Moses art index, which tracks a limited number of art auction resales, shows returns grew by more than 20 percent in 2007, which aligned the year with those of the "art bubble years" between 1984 and 1990. But some art-world insiders expect the slowdown will make its mark: Andy Augenblick, president of Emigrant Bank Fine Art Finance, which makes art-secured loans, recently predicted that financial pressures might force some collectors to sell. Artprice reports that prices may have hit their ceiling in 2007.
Art as an investment is still a very new phenomenon. "Traditionally, it was a few people who collected art," says Peter Scott Sahlman, owner of New York art consultancy Sahlman Fine Art. "Art collecting was kind of an esoteric hobby. Now, wealthy people all collect art. It's a social function, too, especially in contemporary art."
Art should make up roughly 5 percent of an overall portfolio, Sahlman says. (Indeed, the Mei Moses index has slightly underperformed stocks over the past 50 years.) The ballpark allocation could increase for someone with a huge fortune. It depends on how much aninvestor needs access to his or her money, Sahlman says. Art, after all, can't be sold as easily or cheaply as stock.
For art's sake. If all this talk about quantifying art sounds crass, rest assured that some collectors still want nothing to do with profits. New Yorkers Dorothy and Herbert Vogel have become icons in the art community for their landmark collection built through many purchases of reasonably priced minimalist, conceptual, and other contemporary works. The couple—he a retired postal clerk and she a former public librarian—began collecting shortly after they married in 1962.
All told, the Vogel Collection totals more than 4,000 drawings, paintings, sculptures, prints, and photographs. The couple's collecting slowed down only five years ago, Dorothy Vogel says. About 2,500 of the Vogels' works are now being given to museums in each of the 50 states. The National Gallery of Art, which is helping to distribute the collection, won't disclose its value, but it "really has no meaning" anyway, says Vogel, who bristles at the terminvesting. The couple purchased art to please themselves, she says.
Still, Vogel has advice for would-be collectors who don't have millions to pour out at auction. She suggests starting small with prints and drawings and collecting local artists. "We had no rules," she says. "If it was too big, we couldn't buy it. If it was too expensive, we couldn't buy it." Art should, after all, be a good fit for your budget and your home.

Personal:

Born: December 16, 1979, Republic of Moldova
Address: of.109, 59/1, Calea Esilor str., Chisinau 2069, Republic of Moldova
Tel: +373 795 74 875
E-mail:
Web-site:

Education:
2011 – 2013. DeVos Institute of Arts Management, Kennedy Center, Washington D.C., USA
2007 – 2010. “Consolidation of Cultural Sector of Moldova”, ECF & Soros Foundation Moldova, Matra Programme, Netherland
2008 - 2009.“European Leadership and Political Learning for Highly Motivated Young Leaders in Moldova”, IDIS Viitorul, GMF
2007. Fellowship for Training for trainers in cultural policy. European Cultural Foundation (ECF), Amsterdam, the German Marshall Fund of the United States (GMF) Matra program (NL)
1999 - 2005. Academy of Theater, Music and Fine Arts, Faculty of Painting, Chisinau, Moldova
2001 - 2003. Invisible College of Moldova, Laboratory of Philosophy, Anthropology and Culturology
1992 - 1999. Republican Art Lyceum “I. Vieru”, Chisinau, Moldova
Professional experience:
2012. - present, Member of the Advisory Committee of the Eastern Partnership Culture Program
2012. - present, Expert at Compendium of Cultural Policies and Trends in Europe, Heritage Issues Group
2012. - Expert at the Think-Thank Expert-Grup, Chisinau, Moldova
2012. Cultural diplomacy - training program for EaP culture managers, Warsaw, Poland
2012. Consultant, “Troika Moldova” developed through the European Neighborhood programme, Arts & Culture Program of the Open Society Institute – Budapest, the Soros Foundation Moldova and European Cultural Foundation.
2012. Manager of Tandem Projects in Palanca, Eclectic Line and Symbiosis, Casa Parinteasca, Chisinau, Brussel, Riga, Berlin, ECF, Mit Ost, Culture in Action, Soros Moldova
2011 - 2012, Deputy Director at Agency for Inspection and Restoration of Monuments in Moldova, Ministry of Culture of Moldova
2002. present, President, ARS DOR Association
2011. Expert, Eastern Partnership Index, IDIS Viitorul, Moldova
2010. present, Member of National Committee for Creation of National Cultural Fund of Moldova
2010. present, Project Director, Discovering New Talents”, ARS DOR, Moldova-USA
2009. present, Member of "A Soul for Europe" Strategy Group, The Berlin Conference Project, Robert Bosch Stiftung, Germany
2009. National advocacy campaigns and debates for the creation of National Cultural Fund of Republic of Moldova, Chisinau, Balti, Cahul, Moldova
2007. Expert, Kiev Initiative Program, Council of Europe, Strasburg, France
2007. - 2009, Member of the Board of the Centre of Training and Professional Development, JOINT, KEDEM, Moldova
2007. - present, Board Member, CSC Moldova, International IFES Organization, Moldova
2005 - 2006. Business School of Dr. Simkhovich’s, KJJC, Joint, Chisinau, Moldova
2006. Project Director, “Eurointegration through Art”, IFPC-UNESCO, ARS DOR, Moldova
2005. Internship, International Art Fair “Caucasus 2006”, Gulliver Connect Program, Netherlands/Caucasus Foundation, Tbilisi, Georgia
2004. Project Director, “Peace Ambassadors”, UNDP, Chisinau, Moldova
2003. President, Youth Parliament of Moldova, USA Embassy, UNICEF, CNTM, Moldova
2002. Senator, Academy of Fine Arts, Chisinau, Moldova
2002. Project Director, Scientific Symposium “One decade of realities and expectations of transition in the South-Eastern Europe”, HESP Program, Soros Foundation, Invisible College, Chisinau, Moldova

Conferences, debates, seminars, international projects:
2012. Creative Europe Program, Panel discussions on cultural policy in Ukraine, Moldova and EU
2011. II Seminar “Creation of Spatial Data Base for Basic Digital Map of Republic of Moldova”, AFCM, AIRM, Moldova
2011. Eastern Partnership, People to People, Cultural Program, Chisinau, Moldova
2011. European Culture Congress, Wroclaw, Poland
2010. The Berlin Conference “A Soul for Europe”, Stiftung Zukunft Berlin, Felix Meritis Foundation, Berin, Germany
2010. Forum Istanbul, European Cultural Association & “A Soul for Europe”, Stiftung Zukunft Berlin, Turquie
2010. Euro Skills Study Tour, The British Council, Eastern Europe Studies Centre, Vilnius, Lithuania
2009. Forum Cluj, Alt Foundation & “A Soul for Europe”, Stiftung Zukunft Berlin, Romania
2008. The Berlin Conference “A Soul for Europe”, Stiftung Zukunft Berlin, Felix Meritis Foundation, Berin, Germany
2008. Interuniversity Conference of BTD & IDIS Viitorul, “Contemporary Cultural Policy Dilemmas of Moldova”
2007. International Conference “Future Visions: cultural policy of Moldova”, European Cultural Foundation & Soros Foundation Moldova, with communication “The consolidation of Civil Society in culture fields”, Vadul lui Voda, Moldova
2007. “Art & Business; Promotion of art through Internet”, Seminar of ARS DOR, Moldexpo, Chisinau, Moldova
2007. International Conference “10 Years of Gulliver Connect Programme”, Amsterdam, Netherlands
2007. Round table “Culture Policy of Moldova: Visual Art”, GMF, ECF, Soros Foundation, Chisinau, Moldova
2006. International Conference “The Role of Civil Society in Democracy Building”, European Youth Foundation, Council of Europe, Chisinau, Moldova
2006. International Summer School “The Quest for European Values”, Luxembourg Institute for European and International Studies, The Black Sea University Foundation, Vama Veche, Romania
2006. International Summer School “Black Sea Region in the New Enlarged Europe”, Centre International de Formation Europeenne (Nice, France), European Movement of Moldova, Soros Foundation, Vadul lui Voda, Moldova
2005. Conference “Euro-Integration of Moldova”, Academy of Fine Arts, Chisinau, Moldova
2003. International Seminar “Civil Society and Promoting Democracy Reforms in Rep. of Moldova”, Invisible College, Soros Foundation, Chisinau, Moldova
2003. Workshop “The Leadership for the Civil Society”, Invisible College, Chisinau, Moldova
2002. Round table “Civil Society and Consolidation of Leadership for Youth NGOs”, CIM, Soros Foundation, Chisinau, Moldova
2002. Seminar “The role of the Civil Society in Promoting and Consolidation of Civil Values”, CIM, Soros Foundation, Chisinau, Moldova
2001. Student Scientific Conference “Restitutio in Integrum”, “Pseudo Culture” Civic Education Project, Chisinau, Moldova
2001. International Scientific Symposium “Anthropological Perspectives in Romanian Area at the Millennia Confluence”, “Space DOR”, Invisible College, Moldova

Personal Exhibitions:

2011. “Old Chisinau”, Hasdeu Municipal Public Library, Chisinau, Moldova
2011. “Images of Chisinau” Swiss Coopertion Office Moldova
2010. “Eurocity”, IDIS VIITORUL, Think Thank Moldova
2006. “Dor le Dor”, OSCE Mission to Moldova, Chisinau, Moldova
2005. “Identity”, UNDP Moldova, Chisinau, Moldova
2005. “Give a fairy tale to those who do not have it”, Organ Hall, Chisinau, Moldova
2004. “Cultural Diversity”, the Institute of Labour, Chisinau, Moldova
2003. “Syndrom Dor”, French Alliance, Chisinau, Moldova
2003. “The silent witness of violence”, Ethnographical Museum, Chisinau, Moldova
2003. “+1+1+1+1+1+1+1+1+1+1+1+1”, the Institute of Labour, Chisinau, Moldova
2002. “Exod”, Concern RossFinCom, Sanct-Petersbourg, Russia
2000. „DOR”, Art Section of the National Library, Chisinau, Moldova

Collective Exhibitions:

2011. “Nights of Arts 2011”, IWCM, Center “Moldexpo”, Chisinau, Moldova
2011. “Art-Expo”, 11th edition, International Exhibition Center “Moldexpo”, Chisinau, Moldova
2010. “Nights of Arts 2010”, IWCM, Center “Moldexpo”, Chisinau, Moldova
2009. “Nights of Arts 2008”, IWCM, Center “Moldexpo”, Chisinau, Moldova
2008. “Art-Expo”, 10th edition, International Exhibition Center “Moldexpo”, Chisinau, Moldova
2007. “Valmiera International art Symposium”, Valmiera, Latvia
2007. “Ax-Art”, 9th edition, International Exhibition Center “Moldexpo”, Chisinau, Moldova
2006. “Eurointegration through Art”, National History Museum, Chisinau, Moldova
2006. International Art Project “Puzzle Project”, Bucharest, Romania
2006. “Big, Blue, Ball”, Brisbane, Australia, Paris, France
2006. “Ax-Art”, 8th edition, International Exhibition Center “Moldexpo”, Chisinau, Moldova
2005. “Ax-Art”, 7th edition, International Exhibition Center “Moldexpo”, Chisinau, Moldova
2001. International Art Campus “Invasia”, KSAK, Orheiul Vechi, Chisinau, Moldova

Awards:
2011. Winner of Cultural Diplomacy Residency Program in Art Managemet, ICR London, UK
2008. Winner of Competition of Art-Expo, International Exhibition Centre “Moldexpo”, Chisinau, Moldova
2008. Award of Logo Competition of Ministry of Education of Moldova, Chisinau, Moldova
2007. Grants of Soros Foundation for Civil Society
2006. Nomination “Young European of the Year 2006”, Heinz Schwarzkopf Foundation Young Europe
2006. Cross Border Award, Association of European Border Regions, Pamplona, Spain,
2006. Diploma of International Exhibition Centre “Moldexpo”, Chisinau, Moldova
2005. Scholarship, Felix Meritis Foundation, Netherlands
2005. Diploma of Holocaust Foundation, Moscow, Russia
2005. Certificate, „International Marketing”, Enterprise support and small Business Development Fund, Chisinau, Moldova
2004. Silver Award 2004, Artmajeur
2002. Scholar of Merit of Soros Foundation, the Second degree, Moldova
2002. Scholar of Merit of Academician Bernstein, Moldova
2002. I award, Arts Contest “Roberto Matta“, Latin Union, 3rd Edition, Paris, France

Curatorship

2011. Curator of the exhibition “Gheorghe Lisita” Swiss Coopertion Office Moldova
2011. Curator of the exhibition “Veronica Iftodi” IDIS Viitorul, Chisinau, Moldova
2011. Curator of the exhibition “Olga Ilies” Swiss Coopertion Office Moldova
2011. Curator of the exhibition “Eurointegration” Swiss Coopertion Office Moldova
2011. Curator of 6 Exhibition of Talented children from orphanages in Chisinau, Orhei, Straseni, Carpineni orphanages
2011. Curator of the exhibition “Europe” IDIS Viitorul, Chisinau, Moldova
2010. “Eurointegration through art” Alliance Francaise, Moldova
2010. Curator of the exhibitions of “Olga Ilies” at IDIS Viitorul and Swiss Coopertion Office Moldova
2006. “Eurointegration through Art”, IFPC-UNESCO, ARS DOR, National History Museum, Moldova
2005. Invisible College, Chisinau, Moldova
2004. „Neemia”, ARS DOR, Invisible College, Chisinau, Moldova
2003. „Requiem 1903”, ARS DOR, Invisible College, Chisinau, Moldova
2003. Project Director, Socio-Cultural Campaign “From them, through them and for them”, Charity Action, ARS DOR, Moldova
2003. Project Curator, Exhibition “REDIVIVE”, Cooperative College of Moldova, Chisinau
2003. Project Director, Photo Exhibition „Postscript” (XIX – XX century: 1867-1940), ARS DOR, Invisible College, AEM NGO, Edition Museum, Chisinau, Moldova
2002. Curator, Exhibition “The Colors of Jazz”, International Festival of jazz “Jazz Folk Trio”, „Mihai Eminescu” Theatre, Chisinau, Moldova
2002. Project Director, Exhibition “DOR”, ARS DOR, Invisible College, Chisinau, Moldova
2001. Project Director, First Scientific Symposium “From popular to post-modern art”, ARS DOR, Art Faculty of the Academy of Fine Arts, Ethnological NGO, Chisinau, Moldova
2001. Founder of ART Gallery in the Academy of Fine Arts, Chisinau, Moldova
2001. Director, Summer School “From popular to post-modern art”, HESP Program, Soros Foundation, ARS DOR, AEM, Soroca, Moldova
2001. Project Director, “The Glasses”, Academy of Fine Arts, Chisinau, Moldova

My vision is Integrity + Identity + Heart = Impact

By GARY BECKMANSpecial to the Star-Telegram

With the June 2008 release of the National Endowment for the Arts report "Artists in the Workforce," Chairman Dana Gioia declared, "Compared to other U.S. workers, American artists tend to be better educated and more entrepreneurial."

American artists "more entrepreneurial" than a high-tech CEO? How can that be?

Perhaps it is because of this "place" we call America or the belief that artists are more creative than the rest of the population. When combined, "place" and "creativity" might equal "entrepreneurship." For Gioia, "place" is explicit and "creativity" seems inferred; artists know exactly what he means.

Historically, artists have always created art in, through and around the cultural systems of "place," and the act of creation is genetically ingrained in this country’s founding documents.

Freedom of artistic speech, however, has a black-sheep sibling seldom and reluctantly acknowledged: entrepreneurship. The "American Dream" does not exclude artists, though it seems the arts academy has yet to read the e-mail.

Gioia’s comments partially reflect the success of arts higher education.

Hundreds of colleges, universities and conservatories across the country have excelled at producing artists of all types and capacities. As the chairman notes, artists represent 1.4 percent of the total work force; the military represents 2.2 percent.

Clearly, arts higher education is meeting its quota.

The paradox is the seemingly mutual exclusivity in terminology: artistic creativity and entrepreneurship. Or is it a paradox?

We popularly equate entrepreneurship with starting a business.

But can entrepreneurship also be a synonym for the act of creating new art that also adds value beyond the business card-size price tag at the lower right corner of a painting? Can our founding documents be "entrepreneurial" and "creative" in the same sense as Beethoven’s last string quartets and Picasso’s Les Demoiselles d’Avignon?"

Surely the Constitution and the Bill of Rights were the result of need, each creating new value for a burgeoning nation — at least as the Founding Fathers seemed to view the opportunity.

Higher education’s most pressing issue in the arts is not how efficient and streamlined the production of new artists can be.

Instead, it is how to create an accomplished and successful artist with a new sense of art’s power to transform society.

Artists can participate in the American Dream by applying their talents to better communities and making ends, too.

We have the "citizen-soldier." We need the "artist-citizen."

Let’s envision what American artists of this new century might resemble:

First, they discover and become accountable to their education to understand how art impacts society. Second, they perceive how their art folds into the fabric of American life both now and later. Finally, they view themselves as change agents for communities, collectively acting on their knowledge and creative talent.

Higher education is addressing the problem of artist employment through entrepreneurship classes, programs, centers and institutes. Laudable as this extraordinary step may be, the academy — again — is in reactionary mode.

Solving the short-term issue of artist employment without seeing our young artists as community leaders, creative catalysts, artistic revolutionaries and entrepreneurs, is short-sighted. Arts entrepreneurship education without a guiding ethos is hollow.

The artist-citizen must be what Rick Cherwitz at the University of Texas has called the "intellectual entrepreneur" — one who sees the mind as the source of inspiration and change, and who understands that the mission of institutions of higher learning should go beyond "advancing the frontiers of knowledge" to include "serving as engines of economic and social development."

Our Founding Fathers collectively leveraged their education, experience and beliefs to create a free nation. Properly trained, American artists have the same potential within society.

Arts higher education must envision young artists differently in a new century — for without a vanguard of artist-citizens, we turn off the creative gene that forged and bettered this nation.



--------------------------------------------------------------------------------

On the web: www.arts.endow.gov/news/news08/

ArtistsinWorkforce.html

The whole process is simple and straightforward.
The following information could be important for you:

1. Reserving a painting.
2. Price: what is included.
3. Terms of payment.
4. Packing.
5. Shipping.

1. Reserving a painting: ask if a painting is available

When you choose a painting from the gallery contact us to check whether the painting is still available. The collection is permanently updated. There is always a possibility that a painting has just been sold.

To reserve a painting, you must let us know the name of a selected work.
The painting will be reserved for you as soon as you contact us expressing your wish to purchase it.
Rules of payment you will find below. You will also need to provide us with your full mailing address so that the painting can be shipped to you. See also Shipping.

2. Price: what is included

The price of a painting also includes:
wooden stretcher (for painting on canvas);
frame (if the painting is presented on the web site already framed);
packing;
shipping.

The most suitable method of packing and shipping for any painting is included in the painting price listed. The recommended method is based on our expertise for
safe and fast artwork delivery.

Your personal preferences for the delivery are the subject for individual discussion.

If you are interested in more than one painting, the overall price may be discounted
and may warrant further negotiation.

3. Payment

Direct money transfer.
You can wire money directly to our bank account. Before you make a transfer, we will mail you all details for transfer. Usually the banking transfer takes 3 to 7 days.
Our bank requisites:
Available on your request.
Western Union payment.
Good way for immediately paying is using Western Union ® International money order system. To make the payment, you have to select a painting of your preference and to notify us of your willing to pay through Western Union payment system.
4. Packing
All paintings will be packed thoroughly before being sent to you.

5. Shipping
The services we use are as following:
DHL

This is the branch of the global DHL, that gives better service and is rather fast in delivery. The maximum time for delivery is 3 working days.

Your Feedback
It's very important for us to get feedback from you. The most important factor for us is to
know whether you are satisfied with the painting and services rendered.
In case you have read through all the above and still have a question, don't hesitate to contact us.

PRESS RELEASE
Exhibition at UNDP Moldova

IDENTITY
by Ghenadie SONTU

“A collector of children’ images” - painter Ghenadie SONTU - presents a collection of paintings “Identity” in the premises of UNDP Moldova in the period November 3 - December 20, 2005.

Ghenadie SONTU is a President of the cultural association “DOR”, graduated from the Academy of Arts and Invisible College of Moldova. In his paintings the painter focuses on the social-political, Judaic and biblical themes.

Exhibition “Identity” presents a series of children’ portraits with names from biblical genealogy, such as Adam, Abraham, Joseph, David, Debora, etc. – personalities whose identities had a strong impact in the humankind history. Painter is interested in identity crisis of modern society and offers in his paintings indisputable models of integrity, which are actual for present as well.

Exhibition “Identity” is an invitation for everybody for a personal analysis of identity through vision of painter Ghenadie SONTU: Identity+Integrity+Heart=Impact.

Tel: +37322/759413; +373/79574875
Chisinau, Moldova