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BIOGRAFÍA DE IGOR MITORAJ
Igor Mitoraj nace el 26 de marzo de 1944
en la ciudad alemana de Oederan, sobre
las montañas metalíferas, hijo de madre
polaca y padre francés. Los padres de
Mitoraj se conocieron en trágicas circunstancias
en la Alemania fascista. Su
madre fue deportada de Polonia a Alemania
y sometida a trabajos forzados, y
su padre, oficial de la legión extranjera
francesa, fue internado como prisionero
de guerra.
En febrero de 1945 Igor Mitoraj y su
madre sobrevivieron al bombardeo de
Dresden. Tras el fin de la segunda guerra
mundial, la madre decide volver con
su hijo Igor a Polonia, a casa de sus
padres, no lejos de la antigua capital
polaca: Cracovia. En aquella época
gobernaba en Polonia, como en Alemania
del este, el régimen comunista.
Mitoraj pasará allí su juventud. La imágenes
renacentistas que admira estampadas
en viejos libros despiertan su
interés por el arte. No obstante, no es
fácil cultivar tal afición en la Polonia
comunista de entonces, interesada
exclusivamente en la «cultura oficial»
–una cultura que celebra lo «oficialmente
permitido»– ideológicamente
organizada en pro de la exaltación de
las fuerzas productivas del mundo
obrero socialista. Las reproducciones
pictóricas de los impresionistas ayudan
a Mitoraj en su búsqueda de guía y
estímulo. Comienza a estudiar pintura a
los 19 años (1963), en la Academia de
Bellas Artes de Cracovia, destacando
especialmente en sus tres últimos años
con el profesor Tadeusz Kantor (1914-
1990), conocido pintor y uno de los
autores vanguardistas de teatro apreciado
en el mundo entero. Kantor se
muestra a menudo contrario a las nuevas
corrientes occidentales y tampoco
está dispuesto a doblegarse ante los
dictados oficiales. Por el contrario,
quiere acercar a sus estudiantes a artistas
contemporáneos no socialistas
como Andy Warhol, Roy Lichtenstein,
Mario Merz e Yves Klein.
En los años sesenta Mitoraj se dedica
exclusivamente a la pintura. En 1967 participa
con otros estudiantes de la Academia
de Cracovia en una exposición
colectiva en la Galería Krzystofory de la
misma ciudad.
Tadeusz Kantor aconseja a Mitoraj que
deje Polonia para ampliar su formación
cultural. «Vete, —me dice—, deja Cracovia,
sólo así podrás crear algo
importante».
En la primavera de 1968 Mitoraj, impulsado
por su ansia de libertad artística y
personal, deja Polonia. Su destino será
París.
La capital francesa ejerce una gran
atracción sobre Mitoraj e influye
sobremanera en su desarrollo artístico.
En ese mismo año, 1968, se inscribe en
la Escuela Nacional Superior de Bellas
Artes de París (Ecole Nationales Superieure
des Beaux Arts), donde prosigue
sus estudios. Financia sus estudios
y pasatiempos con trabajos
esporádicos.
A principios de los años setenta, crece
en Mitoraj el interés por las culturas antiguas
sudamericanas, que le fascinan,
ejerciendo sobre él una gran influencia.
Desea profundizar en su estudio y en
consecuencia viaja a Méjico. Allí permanecerá
un año, recorriendo el país y
estudiando el arte azteca.
Fruto de las experiencias y los estímulos
recibidos, Mitoraj se da cuenta de que la
pintura no satisface sus posibilidades de
expresión como artista. Reconoce que el
artista tiene mejores oportunidades de
concentrar sus energías en el campo de
la escultura y a esto se dedica.
Tras su vuelta de Méjico en 1974, Mitoraj
vive y trabaja fundamentalmente en
París. En la segunda mitad de los
setenta participa sobre todo en exposiciones
que muestran sus trabajos de
escultura.
En 1976 Mitoraj consigue un gran éxito
con su primera exposición individual en
la galería «la Hune» de París, donde se
expone principalmente su obra escultórica.
Esta exposición en la renombrada
galería de arte no sólo significa éxito
para Mitoraj, es también un aliciente;
desde entonces se dedica exclusivamente
a la escultura. Abre un estudio en
París donde trabaja fundamentalmente
la terracota y el bronce.
En el mismo período se le conceden
premios importantes, como el «Premio
de escultura» en Montrauge ( Prix de la
Sculpture). Además, el Ministro de Cultura
francés pone a su disposición un
estudio en Montmartre en el Bateau
Lavoir. Mitoraj pasa cada vez más tiempo
en el extranjero.
En 1979 Igor Mitoraj se traslada a Nueva
York donde reside varios meses. La ciudad
ofrece un escenario artístico lleno
de vida y emoción que promueve intercambios
culturales rápidos y directos.
Con todo, Nueva York no deja en Mitoraj
ninguna impresión duradera: adquiere
una mayor conciencia de su condición
de «artista europeo».
En 1979 Igor Mitoraj visita por primera
vez la toscana Pietrasanta, sita cerca
del mar. Aquí, no lejos de las famosas
cuevas de Carrara que antaño proveían
de mármol a Miguel Ángel para sus
obras, Mitoraj descubre -después de la
terracota y el bronce- el mármol como
material importante para la escultura
y como medio ideal de expresión
artística.
Viaja cada vez más a menudo a Italia:
años después, en 1983, Mitoraj se establece
definitivamente en Pietrasanta y
abre un estudio sin abandonar el taller
parisino en donde continuará viviendo
y trabajando durante sus visitas a
Francia.
En 1986 acepta una invitación a la XLII
Bienal de Arte Internacional de Venecia.
En el curso de pocos años, su obra aparece
en numerosas exposiciones individuales
organizadas en distintos países.
Los grandes éxitos cosechados en sus
exposiciones permiten a Mitoraj adquirir,
en el año 1987, un gran taller en Pietrasantanta.
Mitoraj actualmente vive y trabaja
entre la italiana Pietrasanta y la
francesa París.
Admirado ya en Europa por público y crítica,
en 1989 presenta por primera vez sus
obras en la Academia de Arte de Nueva
York (New York Academy of Art). Mitoraj
triunfa también en los Estados Unidos.
A este éxito le siguen en años posteriores
numerosas muestras individuales e
invitaciones para importantes exposiciones
en los museos. Recibe, entre
otros, importantes encargos internacionales
de esculturas monumentales para
espacios públicos y privados. Metrópolis
mundiales como Milán, Roma, Paris,
Londres, Atlanta y Tokio le piden esculturas
para sus plazas públicas o nuevos
distritos civiles recién inaugurados.
Milán se engalana en 1991 con la «Fontana
del Centauro» (Fuente del Centauro
) y en 1993 con la estatua de mármol
«Omaggio a De Sabata» (Homenage a
De Sabata», para el Teatro de La Escala.
Roma le encarga esculturas para dos plazas:
la Piazza Mignianelli y la Piazza Monte
Grapa. El Museo Británico de Londres
se asegura en 1995 la escultura monumental
«Thusuki-No-Hikari». El «Tindaro»,
una gran cabeza, se coloca en 1997 en el
nuevo barrio parisino La Défense, donde
hoy se encuentran cuatro esculturas
monumentales.
Mitoraj es hijo ilustre de las ciudades de
Pietrarasanta, Massa Marítima y Greve in
Chianti. Medalla de oro «Vittorio De
Sica» en Italia y medalla de oro «Gloria
Artis» de Polonia. Además, es Profesor
Doctor «Honoris Causa» de la Academia
de Bellas Artes de Cracovia.
BIOGRAPHY OF IGOR MITORAJ
Igor Mitoraj was born on 26 March 1944
in the German city of Oederan, on
other than metal-bearing sands mountains, mother
Polish and French father. Parents of
Mitoraj met in tragic circumstances
in the fascist Germany. Its
mother was deported from Poland to Germany
and subjected to forced labour, and
his father, official of the Foreign Legion
French, was detained as a prisoner
of war.
In February 1945 Igor Mitoraj and its
mother survived the bombing of
Dresden. After the end of war
world, the mother decides to continue with
his son Igor Poland, home of their
parents, not far from the ancient capital
Polish: Krakow. At that time
ruled in Poland, as in Germany
from the East, the Communist regime.
Mitoraj there will spend his youth. The images
Renaissance admired estampadas
in old books awaken its
interest in art. However, is not
easy to cultivate such fondness in Poland
Communist then interested
exclusively in the 'official culture'
-a culture which celebrates the 'officially'
'allowed' - ideologically
organized in the exaltation of
the productive forces of the world
Socialist Worker. The reproductions
pictorial of the Impressionists help
to Mitoraj in their search for guide and
stimulus. Began studying painting to
19 (1963), at the Academy of
Fine arts in Krakow, highlighting
especially in their last three years
with Professor Tadeusz Kantor (1914-)
(1990), known painter and one of the
avant-garde authors appreciated Theatre
throughout the world. Kantor was
shows often contrary to the new
Western currents, nor
willing to bow is before the
dictated officers. Conversely,
wants closer to their students to artists
contemporary not Socialists
as Andy Warhol, Roy Lichtenstein,
Mario Merz and Yves Klein.
In the 1960s Mitoraj focuses
exclusively to painting. In 1967 participates
with other students of the Academy
in Krakow in an exhibition
collective in the Krzystofory Gallery of the
same city.
Tadeusz Kantor advises Mitoraj that
leave Poland to expand its training
cultural. ' Go, - tells me-, leaves Krakow, '
just so you can create something
'important'.
In the spring of 1968 Mitoraj, driven
by its eagerness of artistic freedom and
personal, leaves Poland. Your destination will be
Paris.
The French capital exerts a great
attraction on Mitoraj and influences
greatly in their artistic development.
In that same year, 1968, fits in
National College of fine
Arts in Paris (Ecole Nationales Superieure)
(des Beaux Arts), where continuing
their studies. Finance their studies
and hobbies with jobs
sporadic.
At the beginning of the 1970s, grows
in Mitoraj interest in ancient cultures
South Americans that fascinate you,
exercising over it a great influence.
You want to dig in his study and
consequence travels to Mexico. There remains
a year, touring the country and
studying the Aztec art.
Fruit of experiences and stimuli
received, Mitoraj realizes that the
Paint does not meet their chances of
expression as an artist. Recognizes that the
artist has better opportunities of
concentrate its energies in the field of
the sculpture and this works.
After his return from Mexico in 1974, Mitoraj
lives and works primarily in
Paris. In the second half of the
Seventy participates especially in exhibitions
showing their work of
sculpture.
In 1976 Mitoraj achieved a great success
with his first solo exhibition in
the 'the Hune' Paris, gallery where you
mainly exposes his sculptural work.
This exhibition in the renowned
Art Gallery does not just mean success
Mitoraj, is also an incentive;
Since then focuses exclusively
to sculpture. Opens a study in
Paris where he works mainly
the terracotta and bronze.
In the same period is granted
Awards as the 'Prize'
'of sculpture' in Montrauge (Prix of the)
(Sculpture). In addition, the Minister of culture
French makes available a
study in Montmartre in the Bateau
Lavoir. Mitoraj becomes more and more time
abroad.
In 1979 Igor Mitoraj moved to new
York lies several months. The city
offers a full artistic scenario
life and excitement that promotes exchanges
cultural quick and straightforward.
However, New York not leaves in Mitoraj
no lasting impression: acquires
greater awareness of their status
'European artist'.
In 1979 Igor Mitoraj tour first
time the Tuscan Pietrasanta, located near
the sea. Here, not far from the famous
Carrara yore supplied caves
marble Miguel Angel for their
works, Mitoraj discovers - after the
terracotta and the bronze - marble as
important material for the sculpture
and as a great way of expression
artistic.
Travels ever more frequently to Italy:
years later, in 1983, Mitoraj is set
definitely in Pietrasanta and
Opens a study without abandoning the workshop
parisino where continue living
and working during their visits to
France.
In 1986 accepts an invitation to the XLII
International art of Venice Biennale.
His work appears in the course of few years,
in many individual exhibitions
organized in different countries.
Harvested successes in their
exhibitions allow Mitoraj purchase,
in 1987, a large workshop in Pietrasantanta.
Mitoraj currently lives and works
between the Pietrasanta Italian and the
French Paris.
Admired already in Europe by public and criticism,
1989 presents first their
works in the Art Academy of new
York (New York Academy of Art). Mitoraj
triumphs also in the United States.
This success is followed in subsequent years
numerous individual samples and
invitations to important exhibitions
in museums. Receives, between
other, important international orders
monumental sculptures for
public and private spaces. Metropolis
world as Milan, Rome, Paris,
London, Atlanta and Tokyo prompted sculptures
for new or public squares
newly inaugurados civil districts.
Milan decks in 1991 with the 'Fontana'
'of the Centauro' (source Centauro)
) and in 1993 with the marble statue
'De Sabata Omaggio' (Homenage to)
'Of Sabata', for the theatre of the scale.
Rome handles sculptures to two places:
the Piazza Mignianelli and Piazza Monte
Clamp. The British Museum in London
sure in 1995 the monumental sculpture
'Thusuki-non-Hikari'. 'Tindaro'
a great head is placed in 1997 in the
New District Paris La Défense, where
currently four sculptures
monumental.
Mitoraj is illustrious son of the cities of
Pietrarasanta, Massa maritime and Greve in
Chianti. 'Vittorio De' gold medal
'SICA' in Italy and gold 'Glory'
'Artis' of Poland. Moreover, is Professor
Doctor "honoris causa' Academy
of fine arts in Krakow.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
©Lauri Heikkinen
genova liguria italia italy sea sun landscape free europe europa wallpaper castielli resolution vacation holiday travel flight creativecommons creative commons zero CC0 cc0 CC cc panoramio flickr google gnu gimp
Listening to a discussion at the 2017 Creative Commons Summit in Toronto (photo by Kristina Alexanderson, see: www.flickr.com/photos/kalexanderson/33528086234/in/album-...)
Netwaves' first electro compilation
I love the stunned sort of look, the awkward flash use, and the general mishmash of action that clearly captures a moment during the setup for the Creative Commons party earlier this month. I had just pulled my flash out for the first time in months and took a few test shots to see what the exposure was like. This was the first of those images.
I think I spend too much time composing photos these days and thinking about how they will look captured and have forgotten what shooting totally spontaneously looks like. I still don't consider myself much of a photographer and I'm always working on getting better at capturing moments and thinking quickly, but I look through my recent photo archives and see a distinct lack of spontaneity.
This reminds me of all the shots I took with my first camera when I would take it to parties a few years back, nervously flashing it for no particular reason, in no particular direction all the time.
This is a photograph from a large set of photographs from the SSE Airtricity Dublin Half Marathon 2015 which was held in the Phoenix Park, Dublin, Ireland on Saturday September 19th 2015 at 10:00. This half marathon is the final race in the SSE Airtricity Dublin Race Series which sees four races organised over the summer months in preparation for the Dublin City Marathon in October. This half marathon is one of the largest mass participation sporting events in Ireland and is by far the largest individual half marathon race in Ireland. Almost 7,000 participants took part in the race today which is ran almost entirely in the Phoenix Park. To help with congestion on the race course the race starts in three separate waves which allows faster runners start first. The weather was cool and dry with just a little breeze. Overall the weather was very suitable for road racing and running. The next challenge or race for those taking part today is the Dublin City Marathon at the end of October 2015.
These are completely unofficial and non-commercial photographs. The photographers or this Flickr account is not affiliated in any way to the SSE Airtricity Dublin Race Series. . You should consult the official website of the series [sseairtricitydublinmarathon.ie/] or their social media channels [www.facebook.com/dublinmarathon] for information about official race photography.
However - just because these are unofficial photographs this does not mean that they can be used without properly giving credit to us as the photographers. This includes ANY means by which you reproduce the image including screenshots on mobile devices, cropped or edited version of the photographs from here, etc.
We have a large set of photographs from the event today. The full set is accessible at: www.flickr.com/photos/peterm7/sets/72157658800258546 - They were taken at the start and finish of the event.
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
More of my textures and frames in www.texturepalace.com
Free to use under creative commons attribution licence. If you blog an image or use it in any other way, leave the URL in the comments. If you use one of my images in your art, I'd appreciate it if you give credit, link back & show your result (small please) in the comments.
plus.google.com/+Texturepalace/posts
www.facebook.com/texturepalace
Also, every view, comment, fave, invitation and/or adding to a gallery is much appreciated :)) !!