DOCSLIB.ORG

THE IGNATIAN WAY by BICYCLE Arantzazu > Araia CHEMIN DE SAINT IGNACE À VÉLO the IGNATIAN WAY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE IGNATIAN WAY by BICYCLE Arantzazu > Araia CHEMIN DE SAINT IGNACE À VÉLO the IGNATIAN WAY THE IGNATIAN WAY BY BICYCLE Arantzazu > Araia CHEMIN DE SAINT IGNACE À VÉLO THE IGNATIAN WAY Distance: 67 km BY BICYCLE Donostia Distance: San Sebastián CHEMIN DE Bilbao Loyola Climb: Dénivelé: 682 m SAINT IGNACE À VÉLO Approx. length: Durée approx.: 5h Vitoria-Gasteiz 2 Diffi culty: Medium Diffi culté: Moyenne ARANTZAZU > ARAIA TIPS AND ADVICE Navarrete RECOMMANDATIONS Paved surface: Revêtement dur: 97 % Throughout the Basque Country, the Ignatian Le Chemin Ignatien à travers le Pays Basque Way is signposted as the GR 120 long espagnol est signalisé comme le GR 120 au Non-paved surface: 3 % distance path with the approved red and white moyen de balises offi cielles rouges et blanches Surface naturelle: markers for those following it on foot. This pour sa réalisation à pied. Dans ce guide, nous 67 682m 5h guide suggests several options to avoid those vous proposons diverses options pour éviter les Steeper stretches: Arlaban Mountain Pass stretches which can be more complicated for tronçons qui pourraient s’avérer plus compliqués Tronçons à plus fort dénivelé: Col d’Arlaban a mountain bike with saddle bags. Consider pour un VTT équipé de sacoches. Évaluez votre your physical fi tness when deciding which condition physique avant de décider le chemin route you’re going to take. que vous allez prendre. The Ignatian Way for bikes is not marked Le Chemin Ignatien pour les vélos n’est pas indiqué as such. Get yourself a GPS or app on your comme tel. Procurez-vous un GPS ou une appli smartphone with the route to follow. avec le tracé visualisable sur votre Smartphone. Do not forget to use a helmet, refl ective N’oublier pas d’emporter un casque, des clothing, a good padlock, sunglasses, vêtements réfl échissants, un bon antivol, des sunscreen and the necessary material to carry lunettes de soleil, de la crème solaire et le matériel 700 out basic repairs. nécessaire pour des réparations sommaires. Oñati 500 Be extremely careful on stretches of road. Soyez très vigilants dans les tronçons sur route. 300 Arrasate/ Mondragón As you get closer to pilgrims on foot, reduce Quand vous vous approcherez de pèlerins à pied, Araia Arantzazu your speed when passing them by. réduisez la vitesse en passant à leur côté. 100 Arlaban Ozaeta Zalduondo 15 30 45 60 Paved surface / Revêtement dur Non-paved surface / Surface naturelle en fr On this second day of the Ignatian Way by bicycle, it’ll be necessary to make a detour to avoid the Aizkorri-Aratz sierra where we are now, to reach the end of the Section stage which is just on the other side. Throughout extended stretches of cycle paths in the fi rst part of the stage and taking great care on the road during the second part, ARANTZAZU > we’ll reach the top of the Arlaban mountain pass. The Ullíberri Gamboa reservoir is LANDA on the other side, welcoming us to Álava, where we will continue to cross the plain in search of Araia at the end of the stage. km km Pour cette deuxième journée du Chemin Ignatien à vélo, il faudra faire un détour pour 0 ARANTZAZU. After the obligatory warehouse opposite the Evangélica 0 ARANTZAZU. Après la visite obligée d’un grand hangar industriel en face éviter la cordillère d’Aizkorri-Aratz où nous nous trouvons, pour atteindre la fi n de l’étape visit to the Sanctuary and after Bautista church. au sanctuaire et le plaisir de se de l’église Évangélique Baptiste. qui se trouve juste de l’autre côté. En suivant de longs tronçons de voie cyclable dans enjoying dawn in this peaceful place, réveiller dans ces parages paisibles, ARETXABALETA. The cycle path 25 ARETXABALETA. La voie cyclable la première partie de l’étape et en faisant extrêmement attention dans le tronçon sur we need to descend, with gravity 25 nous devrons descendre en nous we join when leaving Arrasate/ que nous prenons à la sortie route de la deuxième étape, nous couronnerons le col d’Arlaban. De l’autre côté se as our ally, along the same road laissant porter par la pesanteur sur la Mondragón leads us without fail to d’Arrasate/Mondragón nous conduit trouve l’étang d’Ullíbarri Gamboa, qui nous accueillera sur le territoire d’Álava, avant de that put us to the test at the end of même route qui pas plus tard qu’hier Aretxabaleta, whose town centre sans risque de nous perdre jusqu’à continuer la traversée de la Plaine à la recherche d’Araia, fi n de l’étape. yesterday’s ride. a mis nos forces à rude épreuve. we skirt on the eastern fl ank before Aretxabaleta, dont nous longerons 9,8 OÑATI. Une fois arrivés au deuxième 9,8 OÑATI. Once we have reached the pedalling on towards Eskoriatza le centre-ville par le fl anc est pour KMZ GPX rond-point avant d’arriver au centre- second roundabout on the outskirts without leaving the red asphalt of the continuer à pédaler en direction ville d’Oñati, nous devons prendre la of Oñati, we must take the third exit cycle path. d’Eskoriatza sans nous séparer du and join the cycle path to cross the troisième sortie pour rattraper la voie revêtement rouge caractéristique cyclable et traverser en ligne droite la town in a straight line. When passing 28 ESKORIATZA. The Olazar des voies cyclables. the church of San Miguel, although pedestrian and cycle tunnel commune. En passant près de l’église ESKORIATZA. Le tunnel piéton- the cycle path we’re following welcomes us to Eskoriatza, which San Miguel, bien que la voie cyclable 28 cyclable d’Olazar nous souhaitera heads straight on, we’ll turn to the we skirt along the cycle path around sur laquelle nous circulons continue la bienvenue à Eskoriatza, que nous right and join another which will it. This will be the last stretch before tout droit, nous tournons à droite pour contournons sur la voie cyclable, lead us out of the town centre. The we undertake the climb to the prendre une autre voie cyclable qui kilometres between us and Arrasate/ Arlaban mountain pass. When we nous mènera à la sortie de la localité. dernier tronçon avant d’affronter Mondragón will take us along a reach a zebra crossing next to a large Nous parcourrons les kilomètres qui l’ascension au col d’Arlaban. Quand nous séparent d’Arrasate/Mondragón near-continuous cycle path running roundabout, we bid farewell to the nous arriverons à un passage sur une voie cyclable presque continue parallel to the GI-2630. cycle path and take the second exit piéton près d’un grand rond-point, et parallèle à la GI-2630. nous quitterons la voie cyclable ARRASATE/MONDRAGÓN. towards Vitoria-Gasteiz along the GI- 21 pour prendre la deuxième sortie en Just before reaching Arrasate/ 627, taking as much care as possible 21 ARRASATE/MONDRAGÓN. direction de Vitoria-Gasteiz par la GI- Mondragón, next to a hypermarket, on what will be the toughest stretch Peu avant d’arriver à Arrasate/ Mondragón, la voie cyclable se 627, en redoublant de précaution sur the cycle path comes to an end and of the day’s ride. termine à hauteur d’un hypermarché ce tronçon qui s’annonce comme le we carry on along a neighbourhood 37 ARLABAN MOUNTAIN PASS. et nous continuons sur un chemin plus dur de la journée. road. Once in the town centre, we When we reach the top of the vicinal. Une fois dans la ville, il faudra must follow Gipuzkoa, Garibai and 37 COL D’ARLABAN. Après avoir mountain pass we can have a rest suivre les avenues Gipuzkoa, Garibai Araba Avenues. Pay attention on couronné le col, nous pourrons from the road for a few kilometres et Araba. Faites attention dans cette the latter, because we have to turn oublier la route pendant quelques and follow the Basque-Navarre dernière, car il faudra bifurquer par off along a side-street on our left kilomètres pour suivre la Voie Verte Green Way, which branches off on une voie latérale sur notre gauche, with perpendicular parking. This du Chemin Fer Basque-Navarrais, the left, next to the restaurant, and avec des voitures garées en batterie. road leads to a neighbourhood road qui part à gauche près du restaurant which will lead us through Álava Cette voie débouche sur un chemin which will allow us to fi nd the cycle vicinal qui nous permettra de et nous conduira, sur le territoire path leading to Aretxabaleta, which towards Landa. trouver la voie cyclable qui conduit d’Alava désormais, vers Landa. begins next to a large industrial LANDA 39,4 à Aretxabaleta et qui démarre près 39,4 LANDA MUST-SEES! Section BEAR IN MIND: USEFUL PHONE NUMBERS NE MANQUEZ PAS! LANDA > RAPPELEZ-VOUS TÉLÉPHONES UTILES ARAIA Tourism Offi ce Oñati is considered to be one of If you do this stage in summer, don’t miss km Offi ce de Tourisme the towns with most monuments in the chance to cool off with a swim or km • If we are weighing up whether to • Si vous avez l’intention de suivre Oñati 943 78 34 53 Gipuzkoa and one of the most beautiful simply have a rest on one of the inland LANDA. When the Green Way Axpuru, Narbaiza, Gordoa and LANDA. Lorsque la voie verte Gordoa et Galarreta jusqu’à atteindre follow the GR 120 route (designed le tracé du GR 120 (conçu pour les 39,4 39,4 Eskoriatza towns in the Basque Country. Some of beaches, equipped for visitors, in the crosses the road in Landa, we Galarreta until it reaches Zalduondo.
Load more

Recommended publications
  • 03 Margen Derecha In.Pdf
    © Author: Xabier Sáenz de Gorbea • Editor: General Office of Turist Promotion • Design and photographs: Sonia Rueda • Printing: Flash Composition S.L. • Legal deposit: BI-2701-07 1. Jesús Lizaso (1961) “Amatxo” (Mother) (2002) 2. Manuel Basterra (1882-1947) Monument to José Mª de Acha (1931) 3. Ricardo Iñurria (1908-1995) Bust of Alberto del Palacio Elissague (1956) 4. Miguel García de Salazar (1877-1959) Monument to Evaristo Churruca (1919-1939) 5. Higinio Basterra (1876-1957) Tribute to Darío Regoyos (1926) 6. Vicente Larrea (1934) “Algorta Two” (1999) 7. Miguel García de Salazar (1877-1959) Pantheon of the Valle family 8. Miguel García de Salazar (1877-1959) Pantheon of the Diliz family (1914) 9. Miguel García de Salazar (1877-1959) Pantheon of the Salvadora Cortina family (1912) 10. Miguel García de Salazar (1877-1959) Pantheon of the family of Emilio Basagoiti (1918) 11. Jose Ramón Carrera (1935) “Vindication of the pelota court” (1975) 12. Néstor Basterretxea (1924) “Biscay, a Wave of Iron” (1989) 13. Vicente Larrea (1934) “Reredos of Freedom” (1989-90) 14. Anonymous Tribute to Eugenio Gutiérrez Salazar (2002) 15. Rob Krier (1938) Untitled (1990-1991) 16. Néstor Basterretxea (1924) “Leioako indarra” (The Force of Leioa) (2001) 17. Jorge Oteiza (1908-2003) “Proposamen dinamikoa / Dynamic Proposition” (2002) 18. José Ramón Anda (1949) “Besarkada” (Embrace) (2005) 3. ESKUINALDEA A great many works of public art can be observed on the right bank of the river estuary. The municipalities of Erandio, Leioa and Getxo are well furnished with sculptures, from the past and present, not only from the first half of the 20th century but also more recent.
    [Show full text]
  • The Basquebasque Archives,Archives, Aa Sourcesource Ofof Identityidentity TABLE of CONTENTS
    Issue 68 Year 2005 TheThe BasqueBasque archives,archives, aa sourcesource ofof identityidentity TABLE OF CONTENTS GAURKO GAIAK / CURRENT EVENTS: The Basque archives, a source of identity Issue 68 Year 3 • Josu Legarreta, Basque Director of Relations with Basque Communities. The BasqueThe archives,Basque 4 • An interview with Arantxa Arzamendi, a source of identity Director of the Basque Cultural Heritage Department 5 • The Basque archives can be consulted from any part of the planet 8 • Classification and digitalization of parish archives 9 • Gloria Totoricagüena: «Knowledge of a common historical past is essential to maintaining a people’s signs of identity» 12 • Urazandi, a project shining light on Basque emigration 14 • Basque periodicals published in Venezuela and Mexico Issue 68. Year 2005 ARTICLES 16 • The Basque "Y", a train on the move 18 • Nestor Basterretxea, sculptor. AUTHOR A return traveller Eusko Jaurlaritza-Kanpo Harremanetarako Idazkaritza 20 • Euskaditik: The Bishop of Bilbao, elected Nagusia President of the Spanish Episcopal Conference Basque Government-General 21 • Euskaditik: Election results Secretariat for Foreign Action 22 • Euskal gazteak munduan / Basque youth C/ Navarra, 2 around the world 01007 VITORIA-GASTEIZ Nestor Basterretxea Telephone: 945 01 7900 [email protected] DIRECTOR EUSKAL ETXEAK / ETXEZ ETXE Josu Legarreta Bilbao COORDINATION AND EDITORIAL 24 • Proliferation of programs in the USA OFFICE 26 • Argentina. An exhibition for the memory A. Zugasti (Kazeta5 Komunikazioa) 27 • Impressions of Argentina
    [Show full text]
  • NESTOR BASTERRETXEA. BIOGRAFIA AUTOR Nacido En
    NESTOR BASTERRETXEA. BIOGRAFIA AUTOR Nacido en Bermeo (1924), la Guerra Civil española empuja a su familia a un temprano exilio en 1936, residiendo en diversos lugares de Francia hasta 1941. El estallido de un nuevo conflicto, la II Guerra Mundial, le deparará un segundo exilio que les conduce a Buenos Aires, Argentina (1942). Sus cualidades naturales en la técnica del dibujo le permitieron desarrollar una formación autodidacta y el acceso a su primer trabajo; con apenas 20 años obtuvo su primer empleo en ultramar como dibujante publicitario. En 1952 hace un viaje personal a Europa y retoma el contacto con Jorge Oteiza. Animado por este se presentará al concurso de los Murales de la Cripta de la nueva Basílica de Arantzazu (Oñate), donde trabaja ya el propio Oteiza. Al ganar el concurso se ponían a su disposición unos 650 m² de superficie total repartidos en 18 murales. Este es uno de los capítulos más agri-dulces de la vida del artista, ya que supuso un gran espaldarazo profesional enfrentarse a este encargo pero cuyo capítulo final provocaría un gran disgusto. Trabajó en ellos con entusiasmo durante más de dos años, pero se cerró en falso al suprimir la orden franciscana, en una sola noche, la mayor parte de su trabajo por considerar el resultado inadecuado. En palabras de Edorta Kortadi se trataba de “Bocetos de carácter simbólico expresionista siempre sobre una poética cubista heredada de los pintores vascos de preguerra y de Picasso, […] base de aquella pintura recia y construida que él había proyectado para los muros”. Su rabioso expresionismo no fue entendido por los promotores eclesiásticos.
    [Show full text]
  • Beyond Guernica and the Guggenheim
    Beyond Guernica and the Guggenheim Beyond Art and Politics from a Comparative Perspective a Comparative from Art and Politics Beyond Guernica and the Guggenheim This book brings together experts from different fields of study, including sociology, anthropology, art history Art and Politics from a Comparative Perspective and art criticism to share their research and direct experience on the topic of art and politics. How art and politics relate with each other can be studied from numerous perspectives and standpoints. The book is structured according to three main themes: Part 1, on Valuing Art, broadly concerns the question of who, how and what value is given to art, and how this may change over time and circumstance, depending on the social and political situation and motivation of different interest groups. Part 2, on Artistic Political Engagement, reflects on another dimension of art and politics, that of how artists may be intentionally engaged with politics, either via their social and political status and/or through the kind of art they produce and how they frame it in terms of meaning. Part 3, on Exhibitions and Curating, focuses on yet another aspect of the relationship between art and politics: what gets exhibited, why, how, and with what political significance or consequence. A main focus is on the politics of art in the Basque Country, complemented by case studies and reflections from other parts of the world, both in the past and today. This book is unique by gathering a rich variety of different viewpoints and experiences, with artists, curators, art historians, sociologists and anthropologists talking to each other with sometimes quite different epistemological bases and methodological approaches.
    [Show full text]
  • Crossroads of Culture Download 5.8 MB
    Crossroads of In Bilbao the local takes The maximum on universal expression of art: significance Guggenheim Museum Bilbao and much more • A distinctive, differentiated heritage that defines an identity • Museums for all tastes • The sound of music on every corner • A universe of cultural events that look out on the world You will be delighted TO VISIT Guggenheim Museum Bilbao History in stone and brick A museum that has become an icon The Old Quarter, heritage that looks to the skies The fine arts Medieval villages and maritime villages Crossroads Get to know us through our museums Taken together, a historical and artistic heritage 6 A 21st century heritage Each one unique in itself of You will be enchanted by You will be delighted You will be thrilled Opera, in the key of song Renovated classics WALKING TO ATTEND The beat goes on TO JOIN IN Paseo de la Memoria Bizkaiazz ...but it pours Land Art, art surrounded by Azkuna Zentroa Multicultural Art District, showcase for the world nature In harmony with your taste Spaces for creation Urban walks through greenery Film, all the genres Idiomatic tourism Theatre, the curtain raises Through the window Basic Euskera dictionary 24 30 On special dates 50 Bilbao's lookouts A dramatised passion Camino de Santiago, coasting Basque Fest This card is your passport to savings and Going to the fair convenience when planning your stay in Bilbao; use it for public transport, museum and theatre tickets, restaurants, shops and other leisure You will love You will adore activities. Request one in any Tourism Office topCULTURE or at: SHOPPING THE FOOD Everything you can't miss www.bilbaoturismo.net in 10 ideas Design for the world Dishes in the firmament Made in Euskadi Creative cooking From the real Bilbao 68 Culture off the shelf Slowfood Version: February 2016.
    [Show full text]
  • El Imaginario Artístico De “Lo Vasco”
    El imaginario artístico de “lo vasco”. Prácticas y políticas culturales a finales del siglo XX The Artistic Imaginary of “Basquesness”. Cultural Practices and Policies at the End of the 20th Century ANE LEKUONA-MARISCAL Universidad del País Vasco [email protected] Resumen: El artículo analiza el cruce iniciado a partir de los años de la transición entre el discurso cultural del Gobierno Vasco y la difusión reiterada del lenguaje plástico de los escultores que habían participado en los años sesenta en el grupo guipuzcoano Gaur. Se estudian las razones que motivaron esta unión entre las directrices políticas y el imaginario artístico, así como los cambios que se han ido produciendo hasta la actualidad y sus efectos. Por otra parte, se analiza la relación entre dicho fenómeno y la configuración de la historia del arte del País Vasco de la segunda mitad del siglo xx. Palabras clave: País Vasco, Transición, PNV-EAJ, Historia del arte, Cultura institucional. Abstract: This article analyses the crossover that began in the years of the Spanish Political Transition between the cultural discourse of the Basque Government and the repeated dissemination of the plastic language of the sculptors who had participated in the Gaur group in the 1960s. We examine the reasons that motivated this union between political guidelines and the artistic imagination, as well as the changes that have taken place up to the present time and their effects. Furthermore, it analyzes the relationship between this phenomenon and the configuration of the Basque art history of the second half of the 20th century. Keywords: Basque Country, Transition, PNV-EAJ, Art History, Institutional Culture.
    [Show full text]
  • Basque Diaspora Gloria Totoricagüena Phd Is a Political Scientist Who Specializes in Basque Migration and Diaspora Studies
    Gloria Totoricagüena Basque DiasporaMigration and Transnational Identity Center for Basque Studies · University of Nevada, Reno Basque Diaspora Gloria Totoricagüena PhD is a political scientist who specializes in Basque migration and diaspora studies. She earned her doctorate degree in Comparative Politics from the London School of Economics and Political Sci- ence, and currently researches and teaches at the Center for Basque Studies at the University of Nevada, Reno. She has conducted unparalleled fieldwork and investigation with Basques from communities in over twenty coun- tries and regularly serves as a consultant for institutions in the Basque Country. Her work has been awarded and recognized internationally, including the Vasca Mun- dial, Worldly Basque, award in 2003, and when selected as the President of the Committee of Academic Experts from the Eusko Ikaskuntza, or Basque Studies Society, initiative for EuskoSare, a worldwide network for Basque studies. Dr. Totoricagüena collaborates in various research projects with homeland institutions and with those of the Basque diaspora. She is a permanent delegate to the North American Basque Organizations, and has repre- sented the United States in each of the World Congresses of Basque Collectivities. Her numerous publications include more than thirty articles and several books including: Identity, Culture, and Politics in the Basque Diaspora; The Basques of New York: A Cosmopolitan Experience; Diáspora Vasca Comparada: Etnicidad, Cul- tura y Política en las Colectividades Vascas del Exterior; and The Basques of Boise: Dreamers and Doers. Gloria Totoricagüena Basque Diaspora Migration and Transnational Identity Basque Textbooks Series Center for Basque Studies University of Nevada, Reno This book was published with generous financial support from the Basque Government.
    [Show full text]
  • Basque Club Aldizkaria Udaberri 2013 Spring
    Basque Club Aldizkaria Udaberri 2013 Spring San Francisco Basque Picnic Basque Club Mus Txapeldunak Javier Urroz (left) and Franxoa Bidaurreta won this year’s June 2nd - Petaluma Fairgrounds Basque Club mus tournament and will represented the Basque Club at the NABO Mus Championships coming up this June 8th 9:00am Gates Open in Chino. Also representing the Basque Club at the NABO mus 9:45am Basque Mass celebrated by Aita Jean-Michel Lastiri with Elgarrekin Choir, Klika and danc- ers ( inside Herzog Hall ). 12:00pm Barbecue rack of lamb lunch with beans, piperade, cheese, bread and wine. Adults $25, children under 12 $10. 2:30pm Entertainment Program featuring the Zazpiak Bat Klika and Dancers, Los Banos Dancers and San Francisco Gazteak Dancers. 4:30pm Lehengo Dantzaldi featuring Mutxikoak, Soka Dan- tza, Zazpi Jauziak, Lantzeko Ihauterria, and Fandango / Arin Arin. All participation welcome . 5:00pm Lukainka/Txorizo Sale Directions: From San Francisco, take 101 North, Exit Washington St., Left on Washington, Left on Payran Street. finals will be the runner up team of Isabelle Ocafrain Bushman and Valerie Etcharren Arrechea . Zorionak! Esku Pilota at The Basque Cultural Center Inside NABO 2 CBS 3 8HZ 4 4 The Basque Cultural Center will Korrika have a special hand ball exhibition Basque Film 5 on Friday, May 31st, 7:00pm, fea- Piperade 6 turing hand ball players from the Basque County. Admission to the Martin Minaberry Library 6 The Zazpiak Bat Dancers are pictured here at their 2012 October perfor- game is $10. www.sfbcc.us BCI 6 mance at the Iparreko Ibarra Basque Club (Rocklin) picnic.
    [Show full text]
  • Art in San Sebastian
    ART IN 7 SAN SEBASTIAN Monte Urgull Zurriola 6 G J Avenida Zurriola SCULPTURE I H ROUTES P Gros c/ Mayor Oquendo 5 1 Boulevard Miracruz Hernani Gipuzkoa Santa Clara F Plaza K O Intxaurrondo N Egia Urumea Avenida de la Libertad A San Martin Ondarreta L La Concha 3 Cristina Enea D C 4 E B Paseo de la Concha 2 Amara M CONTEMPORARY COASTLINE his walking route along the coastline of Donostia-San 1 PEINE DEL VIENTO [‘WIND COMB’] (1977) Sebastian inspires visitors to discover some of the most Eduardo Chillida important Basque artists of the second half of the 20th (Donostia-San Sebastian 1924 – 2002) Tcentury. Following the course of a 6km stretch of coastline featuring 7 main sculptures and a further 15 complementary This is one of the most widely-known sculptures by pieces, this route along the Donostia-San Sebastian coast Eduardo Chillida, and was created in collaboration combines perfectly with the opportunity to explore the work of with the architect Luis Peña Ganchegui. It was sculptors such as Jorge Oteiza, Eduardo Chillida and Nestor imagined as a conversation between sculpture, Basterretxea. These artists revolutionised the Basque and landscape and architecture, and Eduardo Chillida Spanish art scene by seeking the renewal of forms in Art. understood the ethos of the series as a means of experimenting upon this same topic. The ‘Wind The return of Jorge Oteiza from exile and the beginning Comb’ series emerged in 1952 and was completed in of work in Arantzazu represented the first steps towards 1999: the ‘Wind Comb’ was originally intended to act the development of the Basque School, which included as a standalone creation, but in the end three pieces some of the most highly-renowned artists of the 20th were made.
    [Show full text]
  • Face to Face: Painting Basque Identity in the Diaspora
    BOGA: Basque Studies Consortium Journal Volume 5 Issue 1 Article 3 October 2017 Face to Face: Painting Basque Identity in the Diaspora Zoe Bray Hebrew University of Jerusalem Follow this and additional works at: https://scholarworks.boisestate.edu/boga Part of the Basque Studies Commons Recommended Citation Bray, Zoe (2017) "Face to Face: Painting Basque Identity in the Diaspora," BOGA: Basque Studies Consortium Journal: Vol. 5 : Iss. 1 , Article 3. 10.18122/boga/vol5/iss1/3/boisestate Available at: https://scholarworks.boisestate.edu/boga/vol5/iss1/3 Face to Face: Painting Basque Identity in the Diaspora Zoe Bray, PhD Introduction Over the years, while living and working in different countries, I have painted the portraits of people who in one way or another are linked to the Basque Diaspora. In its widest definition, the Basque diaspora refers to people who identify with some form of Basque lineage and who live outside of the Basque Country. My portraits of such people has grown as I meet them through Basque cultural associations, through common friends back in the Basque Country, or simply through “non-Basque” people who introduce us, believing that, as fellow Basques, we must have something in common. We are thus brought together through the networks that typically define a diaspora. Ultimately, the reason for painting these specific individuals was personal and subjective: I asked to paint them because I found them interesting and wished to get to know them better. As for them, I like to think that the feeling was mutual, as well as being curious about the experience of posing for a painted portrait.
    [Show full text]
  • Mendiburu. Cronología Artística
    Mendiburu. Cronología artística Mikel Onandia Este texto se publica bajo licencia Creative Commons del tipo reconocimiento–no comercial–sin obra derivada (by-nc-nd) 4.0 international. Puede, por tanto, ser distribuido, copiado y reproducido (sin alteraciones en su contenido), siempre con fines docentes o de investigación, y reconociendo su autoría y procedencia. No está permitido su uso comercial. Las condiciones de esta licencia pueden consultarse en: https://creativecommons.org/licenses/by-nc-nd/4.0/deed.es No están permitidos el uso y la reproducción de las imágenes salvo autorización expresa por parte de los propietarios de las fotografías y/o de los derechos de autor de las obras. Créditos fotográficos © Archivo Mendiburu: pp. 6, 11, 14, 15, 19, 21 (arriba izquierda y abajo), 22, 23, 25, 29, 30, 31, 32 (arriba) © Archivo Mendiburu. Fotografías: A. Lurie Waintrob–Sidney Wantrob. Budd Studio: pp. 4, 8, 9 (arriba) © Archivo Mendiburu. Fotografía: Arturo Delgado: p. 36 © Archivo Mendiburu. Fotografías: Jesús Uriarte: pp. 21 (arriba derecha), 32 (abajo) © Archivo Mendiburu. Fotografías: Luis Vallet: p. 7 © Fototeca Municipal de Irun. Fotografía: FotoKruz: p. 9 (abajo) © Jon Cazenave: p. 13 Texto original publicado en el catálogo de la exposición Mendiburu. Materia y memoria, celebrada en el Museo de Bellas Artes de Bilbao (14 de abril-5 de septiembre de 2021). Con el patrocinio de: 1931 Remigio Mendiburu nace el 17 de julio en Hondarribia (Gipuzkoa). Es hijo de Estefanía Miranda Balerdi y José María Mendiburu Pérez, un matrimonio humilde de clase trabajadora con cinco hijos. Dos de sus her- manas mueren por difteria poco después de nacer.
    [Show full text]
  • Fall 2020 Basque Studies Newsletter
    Center for Basque Studies Newsletter ISSN: 1537-2464 The William A. Douglass Center for Basque Studies NEWSLETTER CJ Fall 2020 NUMBER 87 The CBS and the CBS Mission and History Basque Library in The Center for Basque Studies’ mission is to further Basque-related study by conducting, facilitating, and dissemi- nating original Basque-related research Times of Covid-19 in the humanities and social sciences, in cooperation with appropriate academic departments at UNR, as well as at oth- er American and foreign universities, by the creation of undergraduate and graduate curricula at the University of Nevada, Reno (including the creation of distance education courses) and by col- laboration with the University Studies Abroad Consortium to provide a qual- ity educational experience for students desirous of studying and living in the Basque Country of Europe. In 1967 a small Basque Studies pro- The Center for Basque Studies and the graduate students are struggling with at- gram was established within the social Jon Bilbao Library have gone quiet. Their tending classes at odd hours. All of them sciences division of the Desert Research ever-lively hallways and busy bookshelf miss direct intellectual rapport with their Institute. Originally established to study aisles have given away to silence, face peers and advisors. the Basques as an integral part of the coverings, and social distancing. In-person sheep industry that had so influenced Basque culture and language classes are now We are sad and looking forward to spend- the development of the Intermountain delivered through Hy-flex mode—a word ing quality time in the company of each West, over time (and since incorpo- we all had trouble deciphering when it was other.
    [Show full text]