Olga Tokareva was fortunate not only to be born in Odessa, a famous city of Ukraine,
which managed to form its unique art school in two hundred years, but also to come to this
world in a family of talented painters, whose work played a prominent role in the development
of painting innovations in domestic arts of the 2-nd part of XX c.
The first realized contact with the profession took place when she was 10, and obtaining the
distinction after finishing the school surely predicted a career of a mathematic. Still arts
winned among all interests. Only it, as time assured, gave way to her creative personality
self-realization. The way of obtaining the difficult laws of painting started in the School
of painting for children at Leningrad painting, sculpture and architecture by I.Repin
(the Academy of panting nowadays). There she spent her five student years, and the diploma was
successfully presented at professor A.D.Zaytsev's studio.
Professionally oriented interest to painting went from the academism to the understanding
of the natural form-beginning, drawing the leadership of themes and episodes into background.
Afterwards this tendency expressed itself brightly in the synthetical character of genres in
Tokarevas art, their close relationship and mutual penetration. Such conception organically wove into the picturesque canvas
of the artists first serious works, directing the ways of the impressionist-charactered painting development. This phenomena wasn't
accidental at all and was, to a great extent, programmed by the inner premises of her emotional sphere. On this stage the direct visual
impressions start to play more and more important role and the most important task of painting becomes the exploring of light-air sphere
and the feelings of color and coloring. Solving the chain of new problems were supported by chamber painting which were free of rule
pragmatics and strict conditions of literature implication. The artist by herself explains the phenomena quite simply and with obvious
part of objectivity: "The simpler is the motive, the more possibility to create a pictorial masterpiece gets a painter, the more the
individuality of master is expressed. The plastics of stroke plays, the plastics of color, fluttering on the canvas. To go not from the
enumeration of forms, details, comprehensive all-out composition, not through a literature episode, but through the color-space sphere.
I try to fascinate the spectator with a picturesque essence."
The notion "picturesque essence " becomes not only emotional dominant of O.Tokareva's best works, but also an object of the experiment.
In the process the artist is interested not only in physical core of objects or a motive, but in the life of sphere: space, light, in which
the object becomes an integral part, and often acquires a new corporeality as well. The skill of using the special plastic features of oil-paint,
its texture and physical qualities enables O.Tokareva to create various mixtures of strokes: pastel and thick, subtly rubbed and separately laid,
which creates almost tangible, sensible surface of canvases, in which the most important thing becomes a polysyllabic nuancing of color and light,
expression of rhythms and motions. A row of formal methods which may be called now "Tokareva methods", for example, such as the interaction of contrasts,
color-plastic modeling of form, beauty of contours and lines, permanently renew the painting of Tokareva's new works.
It wouldn't be out of place to mention the endless dialogue of the artist with historical legacy of XX c. world art. The most difficult
stratification of cultural and pictorial skill, the joint of pictorial means, occurring at different times, in nowadays' context of the painter's
skill reveals a vertical line from simple ascertaining of the expressed things, it may be a landscape, a still-life or a portrait, to the infinity of
interpretations of form and color. Such life in art characterizes O. Tokareva as an author, possessing not
only the logic of analytical thought, but a tense sense of intuition - the features, without which the profession of painter is rather a
craft than the process of creation.
The subjective basis of modern art is renowned. In the problem's context is the work of O.Tokareva as well, which is a fact of intrigue and special
interest. The artist's works are esteemed by the spectators' auditory of domestic and foreign exhibitions,
by formed circle of collectors.
Tatyana Basanez, the art critic