Biography of Martin Beaupre
Martin Beaupré was born in Quebec, Canada, in 1961. Over the years Martin has found his point of balance by associating art with energy. As a full-time painter Martin’s paintings are a reflection of his inner world. Martin takes us on a Zen journey which reveals a search for beauty and harmony in muffled tones, with serene, uncluttered compositions. In 1995, Martin founded the Médit’Art workshop, where he teaches modern and intuitive painting. Martin has also moderated art therapy workshops for amateur and professional painters, in the deserts of the United States and in the tropics of Hawaii.
Private and corporate collectors from all over the world find Martin’s contemporary canvases arouse profound emotions. Thanks to his accomplished mastery of colors and his completely resistance-free approach. Martin’s paintings combine energy and dynamism with tranquility and serenity. The preferred luminous intensity is white, because it offers the possibility of attaining the infinite. Martin works in various mediums: oil, modeling clay, sable, Swarovski crystal and ink.
Martin Beaupré has met with Buddhist monks in Thailand and Japan who have become a great source of inspiration. Martin believes the principles of Japanese art are sacred. The secret which lends power to his art is this: the void is to be embellished, but never filled. Create the maximum effect with the minimum means. Inspired by travels, Martin creates canvases imbued with Asian culture. We find works showing flowering cherry-trees, mountains, Buddha’s faces, geishas, and symbols and writings inspired by Zenga. Nothing is left to chance; there is a reason behind every detail.
One thing is for certain, there is never a confrontation between form and space. Everything coexists, everything is connected. Impression of calm, instant of grace, mastery of life, everything is softened. Martin Beaupré offers us a mystical operation of the senses, a sort of voyage to the borders of the equilibrium and the immensity which reside within us. An intense poetry to be lived and explored!
Martin Beaupré est né au Canada, à Québec en 1961. Il trouve son équilibre en associant art et énergie. Sa peinture est le reflet de son monde intérieur. Un parcours zen où se révèle la recherche de la beauté et de l'harmonie dans des tonalités feutrées, des compositions épurées et sereines.
Martin Beaupré prend plaisir à transmettre sa passion et vit maintenant de son art à plein temps. En 1995, il a fondé les ateliers Médit'Art, où il enseigna la peinture moderne et intuitive. Il a offert aussi des ateliers d'art thérapie pour peintres amateurs et professionnels, dans les déserts des États-Unis et à Hawaii.
Grâce à sa grande maîtrise des couleurs et à son approche libre de toutes résistances, ses toiles contemporaines suscitent de profondes émotions. Ce peintre conjugue l'énergie et le dynamisme avec le calme et la sérénité.
Inspiré par ses voyages, il crée des toiles empreintes de la culture asiatique. Cerisiers en fleurs, montagnes, visages de Bouddha, geishas, ainsi que symboles et écritures inspirés du Zenga composent ses oeuvres. Rien n'est laissé au hasard, chaque détail a sa raison d'être. Martin Beau Pré a fait la rencontre de moines bouddhistes en Thaïlande et au Japon qui sont devenus une grande source d'inspiration pour lui. Les principes de l'art Japonais sont sacrés à ses yeux. Le secret qui donne puissance à son art : embellir le vide et ne jamais remplir le vide. Créer le maximum d'effet avec le minimum de moyen.
L'intensité lumineuse qu'il préfère est le blanc parce qu'il lui offre les possibilités d'une rencontre avec l'infini. Ses tableaux respirent la quiétude. Il travail avec plusieurs médiums : l'huile, pâte de modelage, sable, cristal de Swarovsky, encre. Dans ses toiles, la forme et l'espace ne sont jamais en confrontation. Tout coexiste, tout est lié. Impression de calme, instant de grâce, maîtrise de sa vie, tout se dulcifie en soi.
Ses tableaux sont vendus partout dans le monde et certains font partie de plusieurs collections privées ou corporatives au Canada, aux Etats-Unis, en Europe et aux Antilles.
Martin Beaupré, nous propose une opération mystique des sens, une sorte de voyage vers les frontières de l'équilibre et de l'immensité qui nous habite. Une intense poésie à vivre et à découvrir!
Maya Mikhailovna Plisetskaya (20 November 1925 – 2 May 2015) was a Soviet ballet dancer, choreographer, ballet director, and actress. In post-Soviet times, she held both Lithuanian and Spanish citizenship. She danced during the Soviet era at the Bolshoi Theatre under the directorships of Leonid Lavrovsky, then of Yury Grigorovich; later she moved into direct confrontation with him. In 1960 when Galina Ulanova, another famed Russian ballerina retired, Plisetskaya became prima ballerina assoluta of the company.
Her early years were marked by political repression and loss. Her father Mikhail Plisetski, a Soviet official, was arrested in 1937 and executed in 1938, during the Great Purge. Her mother actress Rachel Messerer was arrested in 1938 and was imprisoned for a few years, then held in a concentration camp together with her infant son. Maya was adopted by their aunt Sulamith Messerer, principal dancers of the Bolshoi.
Plisetskaya studied ballet at The Bolshoi Ballet School from age nine, and she first performed at the Bolshoi Theatre when she was eleven. She studied ballet under the direction of Elizaveta Gerdt and also her aunt, Sulamith Messerer.
Graduating in 1943 at the age of eighteen, she joined the Bolshoi Ballet company, quickly rising to become their leading soloist. As a soloist, Plisetskaya created a number of leading roles, including Juliet in Lavrovsky’s Romeo and Juliet; Phrygia in Yakobson’s Spartacus (1958); in Grigorovich’s ballets: Mistress of the Copper Mountain in The Stone Flower (1959); Aurora in The Sleeping Beauty (1963); Mahmene Banu in The Legend of Love (1965); Alberto Alonso’s Carmen Suite (1967), written especially for her; and Maurice Bejart’s Isadora (1976). As an artist she had an inexhaustible interest in new roles and dance styles, and she liked to experiment on stage.
Among her most acclaimed roles were Kitri in Don Quixote, Odette-Odile in Swan Lake and The Dying Swan. Her interpretation of The Dying Swan, a short showcase piece made famous by Anna Pavlova, became her calling card. Plisetskaya was known for the height of her jumps, her extremely flexible back, the technical strength of her dancing, and her charisma. She excelled both in adagio and allegro, which is very unusual in dancers.
Despite her acclaim, Plisetskaya was not treated well by the Bolshoi management and she was not allowed to tour outside the country for sixteen years, concerning about her defection due to her family history. Then in 1959, Plisetskaya wrote to the Soviet Premier Nikita Khrushchev “a long and forthright expression of her patriotism and her indignation that it should be doubted.” and he finally decided to lift her travel ban.
Since then, for the next 3 decades, with the international exposure she long deserved, Maya Plisetskaya changed the world of ballet. She set a higher standard for ballerinas, both in terms of technical brilliance and dramatic presence.
After performing in Spartacus during her 1959 U.S. debut tour, Maya Plisetskaya was rated second only to Galina Ulanova by Life magazine in its issue featuring the Bolshoi. And Spartacus became a significant ballet for the Bolshoi, with one critic describing their "rage to perform", personified by Plisetskaya as ballerina, "that defined the Bolshoi."
With just a few years of travelling outside Russia, Maya Plisetskaya became “an international superstar” and a continuous “box office hit throughout the world,” and she was treated by the Soviet Union as a favoured cultural emissary.
Although she toured extensively during the same years that other prominent dancers defected, including Rudolf Nureyev, Natalia Makarova, and Mikhail Baryshnikov, Plisetskaya always return to Russia.
Fashion designers Yves Saint Laurent and Pierre Cardin considered Plisetskaya one of their inspirations, with Cardin alone having traveled to Moscow over 30 times just to see Plisetskaya perform, and she credits Cardin's costume designs for the success and recognition she received for her ballets of Anna Karenina(1974), The Seagull (1980), and Lady with the Lapdog(1985).
Plisetskaya recalls Cardin's reaction when she initially suggested he design one of her costumes: "Cardin's eyes lit up like batteries. As if an electrical current passed through them." Within a week Cardin had created a design for Anna Karenina, and over the course of her career he created ten different costumes for just Karenina.
Maya Plisetskaya married composer Rodion Shchedrin in 1958, who later wrote many music scores for her ballets, such as Carmen Suite created by Cuban choreographer Alberto Alonso in 1966, and later Anna Karenina(1974), The Seagull (1980), and Lady with the Lapdog(1985) seperately.
In the 1980s, Plisetskaya and her husband Shchedrin spent time abroad extensively, where she worked for some of the world's most important ballet companies. In 1983–84, She was ballet director of the Rome Opera, and from 1987 to 1990, she was artistic director of Ballet del Teatro Lirico Nacional in Madrid.
In 1990, Maya Plisetskaya retired as a soloist for the Bolshoi at age 65 and the next year she published her autobiography, I, Maya Plisetskaya.
Beginning in 1994, she presided over the annual international ballet competition in Saint Petersburg, called Maya. In 1996 she was named the President of the Imperial Russian Ballet, Moscow private dance company and danced the Dying Swan, her signature role, at a gala in her honour in St. Petersburg.
During her long and successful career, Maya Plisetskaya had won the highest awards in Soviet Union, such as the Lenin Prize and three orders of Lenin. She was also awarded many times internationally: In France, she was decorated Chevalier of the Legion of Honour and a Commander of the Order of Arts and Letters, and made an honorary doctor of the Sorbonne University; In Spain, she was awarded the Prince of Asturias Award for the Arts in 2005 together with the Spanish ballerina Tamara Rojo, and then awarded the Spanish Gold Medal of Fine Art. And she was also awarded in other European countries like Lithuania and Poland.
In 2006, Emperor Akihito of Japan presented her with the Praemium Imperiale, informally considered a Nobel Prize for Art.
Maya Plisetskaya died in Munich, Germany, on 2 May 2015 from a heart attack. Plisetskaya was survived by her husband Rodion Shchedrin, and a brother, former dancer Azari Plisetsky, a teacher of choreography at the Béjart Ballet in Lausanne, Switzerland.
According to her last will and testament, she was to be cremated, and after the death of her husband, who is also to be cremated, their ashes are to be combined and spread over Russia.
Maya Plisetskaya, one of the world’s foremost dancers, rose to become a prima ballerina of Moscow’s Bolshoi Ballet after an early life filled with tragedy and loss. In this spirited memoir, Plisetskaya reflects on her personal and professional odyssey, presenting a unique view of the life of a Soviet artist during the troubled period from the late 1930s to the 1990s.
Plisetskaya recounts the execution of her father in the Great Terror and her mother’s exile to the Gulag. She describes her admission to the Bolshoi in 1943, the roles she performed there, and the endless petty harassments she endured, from both envious colleagues and Party officials. Refused permission for six years to tour with the company, Plisetskaya eventually performed all over the world, working with such noted choreographers as Roland Petit and Maurice Béjart. She recounts the tumultuous events she lived through and the fascinating people she met—among them the legendary ballet teacher Agrippina Vaganova, George Balanchine, Frank Sinatra, Rudolf Nureyev, and Dmitri Shostakovich. And she provides fascinating details about testy cocktail-party encounters with Khrushchev, tours abroad when her meager per diem allowance brought her close to starvation, and KGB plots to capitalize on her friendship with Robert Kennedy. Gifted, courageous, and brutally honest, Plisetskaya brilliantly illuminates the world of Soviet ballet during an era that encompasses both repression and cultural détente.
Tim Scholl(co-author) is professor of Russian language and literature at Oberlin College. Antonina W. Bouis(translator) is the prize-winning translator of more than fifty books, including fiction, nonfiction, and memoirs by such figures as Andrei Sakharov, Elena Bonner, and Dmitri Shostakovich.
Biography of Margot Fonteyn
Dame Margot Fonteyn, DBE (18 May 1919 – 21 February 1991), stage name of Margaret Evelyn de Arias, was an English ballerina. She spent her entire career as a dancer with the Royal Ballet (formerly the Sadler's Wells Theater Company), eventually being appointed prima ballerina assoluta of the company by Queen Elizabeth II in 1979.
Beginning ballet lessons at the age of four, she studied in England and China, where her father was transferred for his work. Her training in Shanghai was with George Goncharov, contributing to her continuing interest in Russian ballet. Returning to London at the age of 14, she was invited to join the Vic-Wells Ballet School by Ninette de Valois and succeeded Alicia Markova as prima ballerina of the company in 1935 at age 16. The Vic-Wells choreographer, Sir Frederick Ashton, wrote numerous parts for Fonteyn and her partner, Robert Helpmann, with whom she danced from the 1930s to the 1940s.
In 1946, the Vic-Wells company(now renamed the Sadler's Wells Ballet), moved into the Royal Opera House at Covent Garden where Fonteyn's most frequent partner throughout the next decade was Michael Somes. Her performance in Tchaikovsky’s The Sleeping Beauty became a distinguishing role for both Fonteyn and the company, but she was also well known for the ballets created by Ashton, including Symphonic Variations, Cinderella, Daphnis and Chloe, Ondine and Sylvia.
In 1949, she led the company in a tour of the United States and became an international celebrity. Before and after the Second World War, Fonteyn performed in televised broadcasts of ballet performances in Britain.
In 1955, she married the Panamanian politician Roberto Arias and appeared in a live colour production of The Sleeping Beauty aired on NBC. Thanks to her international acclaim and many guest artist requests, the Royal Ballet allowed Fonteyn to become a freelance dancer in 1959.
In Margot Fonteyn's ballet career, she has been dancing with different partners, but her most long lasting partner is Russian ballet dancer Rudolf Nureyev.
They were most noted for their classical performances in works such as Le Corsaire Pas de Deux, Les Sylphides, La Bayadère, Swan Lake, and Raymonda, in which Nureyev sometimes adapted choreographies specifically to showcase their talents.
Sir Frederick Ashton choreographed Marguerite and Armand for Margot Fonteyn and Rudolf Nureyev,which no other couple danced until the 21st century.
The 1963 premiere was well publicised before its 1963 opening and teamed them with Michael Somes, one of Margot Fonteyn's dancing partners. Composed as a series of pas de deux, interrupted by only one solo, the ballet built intensity from the initial coup de foudre to the death scene. According to Somes, the pairing of Nureyev and Fonteyn was brilliant, as they were not partners but two stars of equal talent who pushed each other to their best performances. The production was an immediate success, and Marguerite and Armand became a signature work for the duo, sealing their partnership.
In 1961, when Fonteyn was considering retirement, Rudolf Nureyev defected from the Kirov Ballet while dancing in Paris. Margot Fonteyn danced with him in his début with the Royal Ballet in Giselle on 21 February 1962. The duo immediately became an international sensation, each dancer pushing the other to their best performances.
"At the end of 'Lac des Cygnes', when she left the stage in her great white tutu I would have followed her to the end of the world."
In 1964, Margot Fonteyn's husband was shot during an assassination attempt and became a quadriplegic, requiring constant care for the remainder of his life. In 1972, Fonteyn went into semi-retirement, although she continued to dance periodically until the end of the decade.
In 1979, she was fêted by the Royal Ballet and officially pronounced the prima ballerina assoluta of the company.
Margot Fonteyn retired to Panama, where she spent her time writing books, raising cattle, and caring for her husband. She died from ovarian cancer exactly 29 years after her premiere with Nureyev in Giselle.