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Guillermo R. Mingorance
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Guillermo R. Mingorance
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Nació en el madrileño barrio de Argüelles. Con a penas una década comienza a recibir clases de dibujo. Según transcurren sus primeros años demuestra una segunda afición tan intensa como la de dibujar y pintar: escribe asiduamente sus primeras poesías y narraciones breves, e inicia una serie de análisis sucintos sobre la obra de pintores por los que siente predilección. Entre 1961 y 1973 R. Mingorance estudia Diseño Industrial, Ciencias Físicas, cursos Monográficos de Bellas Artes y de Literatura, y en 1969 se incorpora al Grupo de Delicias (Madrid), dirigido por el pintor y profesor Antonio Zarco. Su primera novela es seleccionada en el Premio Sésamo de Madrid en 1968. Durante su estancia en África en 1970-1971 realiza cerca de ochenta obras en distintas técnicas, dentro de la llamada «nueva figuración», que desembocarán en el expresionismo figurativo y gestual de su quehacer posterior. Entre 1974 y 1990 dirige las galerías de arte Galnova, Helio’s, Liria y Aboleng y colabora en distintos programas culturales de radio. Dirige la sección de arte de la revista «Biolecta», escribe más de 50 análisis monográficos sobre la obra de artistas plásticos, Cuadernos Monográficos, lo que le condujo a fundar, en 1992, la revista cultural «Artesfera» y, a finales de 1993, «Espiral de las Artes». Desde 1963 ha obtenido más de 40 premios y reconocimientos nacionales e internacionales, ha realizado más de 50 exposiciones individuales y supera las 100 muestras en grupos y colectivas en países, de los cuales destacamos: Canadá, España, Estados Unidos, Francia, Holanda, Inglaterra, Italia, Japón, Marruecos, México o Puerto Rico. Es un pintor narrativo de realidades y de intuiciones. Su última etapa está compuesta por argumentos que contienen conceptos astronómicos y secuencias de posibles episodios cósmicos, sin apartarse de los asuntos cotidianos y sociales que ha creado a lo largo de su dilatada carrera.
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Guillermo R. Mingorance Madrid, 1948
He was born in the Argüelles neighbourhood in Madrid. When he was barely ten years old, he started taking drawing lessons. As the early years went by, he exhibited a second love which was as intense as drawing and painting: he wrote his first poems and short stories, and started a series of short analyses on the works of the painters of whom he was so fond. Between 1961 and 1973 R. Mingorance studied Industrial Design, Physical Science, Monographic Course in Fine Arts and Literature, and in 1969 he joined the Grupo de Delicias in Madrid, directed by the painter and teacher Antonio Zarco. His first novel was selected for the Premio Sésamo in Madrid in 1968. During his stay Africa in 1970-71 he created almost 80 works using different techniques, within the so-called «nueva figuración» (new imagination), which lead to figurative and gestural expressionism of his later work. Between 1974 and 1990 he was the director of the Galnova, Helio’s, Liria and Aboleng art galleries and took part in en several cultural radio programmes. He edited the Art section of the «Biolecta» magazine, wrote more than 50 monographic analyses on the works of artists and monographic paintings, which in 1992 lead him to start the cultural magazine «Artesfera» and, at the end of 1993, «Espiral de las Artes». Since 1963 he has won over 40 prizes as well as gaining national and international recognition. He has held over 50 individual exhibitions and more than 100 group and joint exhibitions in countries such as Canada, Spain, the United States, France, Holland, England, Italy, Japan, Morocco, Mexico and Puerto Rico. He is a narrative painter who depicts both reality and ideas. The work of his latest period is composed of subjects with astronomical concepts and sequences of possible cosmic episodes, whilst not straying from the daily and social themes which he has created throughout his long and extensive career.
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She prefers to be alone to be trained by television Prefiere la no compañía a ser adiestrada por la televisión
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27 x 19 cm - 10.6 x 7.5 in - oil/canvas
1. She is immersed in the peculiar immensity Sumergida en la peculiar inmensidad
14 x 34 cm - 5.5 x 13.4 in - oil/Dmp
Painting on cover: pag. 22 Cuadro en cubierta: pág. 22
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If she leaves it, she will get it back Si lo deja, recuperarรก su custodia
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25,4 x 20,3 cm - 10 x 8 in - oil/canvas
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4. If she is looking after him, he is happy Si es ella quien le atiende se siente complacido
17,2 x 29,2 cm - 6.8 x 11.5 in - oil/canvas
5. The
computer-aid will help them to decode the Great Book La herramienta-ordenador, les ayudarรก a descodificar el Gran Libro 17,2 x 29,2 cm - 6.8 x 11.5 in - oil/Dmp
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17. They
have arrived to the three stars «Freedom-only Women» Han llegado al tres estrellas «Freedom-Sólo Mujeres» 55,5 x 55,5 cm - 21.9 x 21.9 in - oil/Dmp
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13. Useless
objects and old remnants in discounts Objetos inĂştiles y antiguos retales en rebajas 46 x 38 cm - 18.1 x 15 in - oil/canvas
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23. From
the colonnade, they observe the volume of tenderness Desde el soportal, observan el volumen de ternura
62,5 x 61 cm - 24.6 x 24 in - oil/Dmp
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31. In
times of drought she is who maintains the flowers alive En tiempos de sequĂa ella es quien mantiene viva la floresta
80 x 80 cm - 31.5 x 31.5 in - oil/Dmp
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7. Conversation unconnected with the formidable region Conversaci贸n ajena a la formidable regi贸n
41 x 33 cm - 16 x 12.9 in - oil/canvas
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19. Suitcase, shield and absence of their owners Maleta, escudo y ausencia de sus propietarios
60 x 60 cm - 23.6 x 23.6 in - oil/Dmp
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27. She
guards the last books in paper and set of writing materials Custodia los Ăşltimos libros en papel y recados para escribir
57 x 81 cm - 22.4 x 31.9 in - oil/Dmp
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12. The
new Lady receives the disproportionate tithes La nueva Se単ora recibe los desmesurados diezmos
46 x 38 cm - 18.1 x 15 in - oil/canvas
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11. They work tirelessly to keep the workshop going Trabajan sin descanso por mantener el taller funcionando
46 x 38 cm - 18.1 x 15 in - oil/canvas
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34. In
the absent old Perfumer’s place En el lugar del anciano y ausente perfumero
90 x 90 cm - 35.4 x 35.4 in - oil/Dmp
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18. They
will agree how to catalogue the timeless Argonauts’ tools and Implements Acordarán cómo catalogar los útiles y medios de los argonautas intemporales 60 x 60 cm - 23.6 x 23.6 in - oil/Dmp
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20. They
are surprised by the intense and warm light Sorprendidos por la intensa y cรกlida luz 60 x 60 cm - 23.6 x 23.6 in - oil/Dmp
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21. They
have decided to have breakfast forever together Han decidido desayunar siempre juntas 61 x 62,4 cm - 24 x 24.6 in - oil/Dmp
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22. She
contemplates as her friend adjusts the schedules every lunar period Contempla c贸mo ajusta los horarios cada per铆odo lunar
61 x 62,5 cm - 24 x 24.6 in - oil/Dmp
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15. She
returns with her soul in tatters Regresa con el alma hecha jirones
60,4 x 48,2 cm - 23.8 x 19 in - oil/canvas
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30. Delicha could not care less that Carlota ingests transgenics A Delicha le importa un ardite que Carlota ingiera transgĂŠnicos
81,2 x 65 cm - 32 x 25.6 in - oil/Dmp
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33. While
the cat sleeps, he toils in the reading Mientras el gato duerme, ĂŠl se afana en la lectura
92 x 73 cm - 36.2 x 28.7 in - oil/canvas
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24. Three
stadiums and a constant flowering Tres estadios y una constante floraci贸n
81 x 48,1 cm - 31.9 x 18.9 in - oil/Dmp
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29. They
are not of ephemeral existence as other similar ones in forms No son de existencia efĂmera como otras semejantes en formas 81 x 65 cm - 31.9 x 25.6 in - oil/Dmp
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26. They
grew in thick semi-darkness and remnants of a distant light Se han desarrollado entre densas penumbras y retazos de una luz lejana 45 x 93 cm - 17.7 x 36.6 in - oil/Dmp+wood
25. Illuminated
by a moon which is more red than white Iluminadas por la luna mas roja que blanca 45 x 93 cm - 17.7 x 36.6 in - oil/Dmp
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35. She
meditates on her own thoughts projected in the intangible planes Reflexiona sobre sus propios pensamientos proyectados
100 x 100 cm - 39.4 x 39.4 in - oil/Dmp
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32. To
communicate among them, each one uses its faithful interpreter-messenger Para comunicarse entre ellas, cada una utiliza su fiel intĂŠrprete-mensajero
81 x 81 cm - 31.9 x 31.9 in - oil/Dmp
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6. For table an old drum, for food an utopia portion Por mesa un viejo bid贸n, por alimento una raci贸n de utop铆a
37,4 x 36,1 cm - 14.7 x 14.2 in - oil/wood+Tbx
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16. They
observe the rarities that she studies and builds Observan las rarezas que estudia y construye 61 x 50 cm - 24x 19.7 in - oil/Dmp+wood
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28. Human
Beings transformed by The Goddess Floraprigenia Seres humanos florificados por La Diosa Floraprigenia 65 x 81 cm - 25.6 x 31.9 in - oil/Dmp
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8. They feel that the icy dawns will soon return Presienten que pronto regresarĂĄn las albas gĂŠlidas
32,6 x 41,8 cm - 12.8 x 16.4 in - oil/Dmp+wood
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9. They
are dressing her up for her first offering to the moon La estรกn ataviando para su primera ofrenda a la Luna 38 x 43 cm - 15 x 17 in - oil/Dmp+wood
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33. The
flea market with bartering and payment in coin El rastrillo informado de trueques y pagos con monedas
146 x 146 cm - 57.5 x 57.5 in - oil/canvas
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10. Notes
of flowers in those that the spheroids prevail Notas de flores en las que predominan las esferorides
38 x 46 cm - 15 x 18.1 in - oil/Dmp
14. From
the subtlety of the white stains, until the millennial ones and, almost hidden, curatives Desde la sutileza en blancas, hasta las milenarias y, casi ocultas sanadoras 42 x 60 cm - 16.5 x 23.6 in - oil/Dmp
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Š Guillermo R. Mingorance (2012)
design by www.hourglass-designs.com
Printed by Campillo Nevado www.campillonevado.com
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contact
vanesa@guillermormingorance.com www.guillermormingorance.com