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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 Mono-gráficos 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 desemboca-rán 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 dis-tintos 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 colec-tivas 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 argu-mentos 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. MingoranceMadrid, 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, Monogra-phic 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 ga-lleries 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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2. She prefers to be alone to betrained by television

Prefiere la no compañía a seradiestrada por la televisión

27 x 19 cm - 10.6 x 7.5 in - oil/canvas

Painting on cover: pag. 22Cuadro en cubierta: pág. 22

1. She is immersed in the peculiar immensitySumergida en la peculiar inmensidad14 x 34 cm - 5.5 x 13.4 in - oil/Dmp

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3. If she leaves it, she will get it backSi lo deja, recuperará su custodia25,4 x 20,3 cm - 10 x 8 in - oil/canvas

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4. If she is looking after him, he is happySi es ella quien le atiendese siente complacido17,2 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 ayudará 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 inútiles 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 tendernessDesde el soportal, observan el volumen de ternura62,5 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 aliveEn tiempos de sequía ella es quien mantiene viva la floresta80 x 80 cm - 31.5 x 31.5 in - oil/Dmp

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7. Conversation unconnected with the formidable regionConversación ajena a la formidable región41 x 33 cm - 16 x 12.9 in - oil/canvas

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19. Suitcase, shield and absence of their ownersMaleta, 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 materialsCustodia los últimos libros en papel y recados para escribir57 x 81 cm - 22.4 x 31.9 in - oil/Dmp

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12. The new Lady receives the disproportionate tithesLa nueva Señora recibe los desmesurados diezmos46 x 38 cm - 18.1 x 15 in - oil/canvas

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11. They work tirelessly to keep the workshop goingTrabajan 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 placeEn el lugar del anciano y ausente perfumero90 x 90 cm - 35.4 x 35.4 in - oil/Dmp

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18. They will agree how to catalogue the timelessArgonauts’ tools and Implements

Acordarán cómo catalogar los útiles y medios de losargonautas 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 lightSorprendidos por la intensa y cálida 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 juntas61 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 periodContempla cómo ajusta los horarios cada período lunar61 x 62,5 cm - 24 x 24.6 in - oil/Dmp

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15. She returns with her soul in tattersRegresa 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 transgenicsA Delicha le importa un ardite que Carlota ingiera transgénicos

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 readingMientras el gato duerme, él se afana en la lectura92 x 73 cm - 36.2 x 28.7 in - oil/canvas

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24. Three stadiums and a constant floweringTres estadios y una constante floración81 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 formsNo son de existencia efímera como otras semejantes en formas

81 x 65 cm - 31.9 x 25.6 in - oil/Dmp

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25. Illuminated by a moon which is more red than whiteIluminadas por la luna mas roja que blanca

45 x 93 cm - 17.7 x 36.6 in - oil/Dmp

26. They grew in thick semi-darkness andremnants of a distant light

Se han desarrollado entre densas penumbras yretazos de una luz lejana

45 x 93 cm - 17.7 x 36.6 in - oil/Dmp+wood

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35. She meditates on her own thoughts projected in the intangible planesReflexiona sobre sus propios pensamientos proyectados100 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-messengerPara comunicarse entre ellas, cada una utiliza su fiel intérprete-mensajero81 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 portionPor mesa un viejo bidón, por alimento una ración de utopía

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 buildsObservan 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 FloraprigeniaSeres 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 returnPresienten que pronto regresarán las albas gélidas

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 moonLa están 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 coinEl rastrillo informado de trueques y pagos con monedas146 x 146 cm - 57.5 x 57.5 in - oil/canvas

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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

10. Notes of flowers in those that the spheroids prevailNotas de flores en las que predominan las esferorides38 x 46 cm - 15 x 18.1 in - oil/Dmp

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© Guillermo R. Mingorance (2012)

design bywww.hourglass-designs.com

Printed by Campillo Nevadowww.campillonevado.com

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contact

vanesa@guillermormingorance.com

www.guillermormingorance.com