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Henry Moore - Sarajevo 1984 - PLAKAT


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OVO JE ORIGINALNI PLAKAT
62 x 85 cm
urolan
samo srbija
ovaj plakat ne saljem u inostranstvo

Henri Mur (engl. Henry Moore; Kaslford, 30. jul 1898 — Mač Hedam, 31. avgust 1986) je bio britanski vajar. Njegove skulpture nalaze se na mnogim javnim mestima, kao što su zgrada UNESKO u Parizu i centar „Linkoln“ u Njujorku.

Rodio se kao sedmo od osmoro dece u porodici rudara. Otac mu je bio ubeđeni socijalista. Iz Prvog svetskog rata se vratio kao invalid usled trovanja bojnim otrovima. Posle rata je studirao i putovao po Francuskoj, Italiji i Španiji.

---------------------------------------------- -----------------------------------------

XIV Zimske olimpijske igre su održane 1984. godine u Sarajevu, tadašnjoj Socijalističkoj Federativnoj Republici Jugoslaviji. Ostali gradovi kandidati za Olimpijske igre su bili Saporo, Japan i Falun/Geteborg, Švedska.

Ovo su bile prve zimske i druge zaredom igre generalno održane u Istočnoj Evropi, na govornom području slovenskih jezika i u socijalističkoj zemlji, kao i prve i za sada jedine Olimpijske igre održane u državi iz Pokreta nesvrstanih i u većinski muslimanskom gradu. Takođe, ovo je bilo prvi put da se Olimpijske igre organizuju na Balkanskom poluostrvu nakon prvih u modernom dobu u Atini.

Sarajevo je organizaciju zimskih olimpijskih medalja dobilo u konkurenciji s japanskim Saporom i zajedničkom kandidaturom švedskih gradova Falun i Geteborg. MOK se pri tome delimično vodio političkim razlozima - kao nesvrstana zemlja, tadašnja Jugoslavija je davala manje prilike za hladnoratovske bojkote - ali glavni je motiv ipak bila želja da se Igre, kao simbol svjetskog mira i bratstva među ljudima - održe u gradu koji je dotada obično bio vezivan za izbijanje Prvog svjetskog rata.

Za vlasti Jugoslavije sarajevske Olimpijske igre su bile sjajna prilika da državu svetu predstave u najboljem mogućem svetlu, i u tom nastojanju ih nije omela ni velika ekonomska kriza koja je SFRJ bila pogodila početkom 1980-ih. U Igre su utrošena velika sredstva, te sagrađen veliki broj impozantnih građevina i ostale infrastrukture. U tome su vlasti imale podršku Sarajlija, a već pre samog održavanja su Igre dovele do povećanja interesa za zimske sportove, dotada gotovo nepoznate u tom delu Jugoslavije.

------------------------------------------------

this is an original poster by h. moore
print - offset lithography
62 x 85 cm, 24,4 x 33,5 in
serbia only
I do not send this poster abroad

The poster has the official Yugoslavian Olympic logo in the lower left corner along with the 1984 official logo and is an official Olympics poster.

The 1984 Winter Olympics, officially known as the XIV Olympic Winter Games (French: XIVes Jeux olympiques d`hiver; Serbo-Croatian: XIV. zimske olimpijske igre / XIV Зимске олимпијске игре; Macedonian: XIV Зимски олимписки игри; Slovene: XIV olimpijske zimske igre), was a winter multi-sport event which took place from 8–19 February 1984 in Sarajevo, Yugoslavia, in what is now Bosnia and Herzegovina. Other candidate cities were Sapporo, Japan; and Gothenburg, Sweden.

It was the first Winter Olympic Games held in a socialist state and in a Slavic language-speaking country. It was also the second Olympics overall, as well as the second consecutive Olympics, to be held in a socialist and in a Slavic language-speaking country after the 1980 Summer Olympics were held in Moscow, Soviet Union. Furthermore, it was the first Olympics held in the Balkans after the first modern Games in Athens. The Sarajevo games have also been the only Olympics so far to be hosted by a Non-Aligned Movement member.

The host city for the XIV Winter Olympics was announced on 18 May 1978 during an 80th session of the International Olympic Committee in Athens, Greece. Sarajevo was selected over Sapporo, Japan (which hosted the games 12 years earlier) by a margin of three votes. Gothenburg was the first city in Sweden to lose a Winter Olympics bid, as other Swedish cities such as Falun and Östersund would later lose their consecutive bids to Calgary, Albertville, Lillehammer, Nagano, and Salt Lake City respectively. Sarajevo, capital of present-day Bosnia and Herzegovina, was part of the united Yugoslavia at the time.

The torch relay for the 1984 Winter Olympics started in Olympia and then proceeded by airplane to Dubrovnik. The total distance of the torch relay through Yugoslavia was 5,289 kilometres (3,286 mi) (plus 2,879 kilometres (1,789 mi) of local routes). There were two main routes – one in the west (Split – Ljubljana – Zagreb – Sarajevo with 2,602 kilometres (1,617 mi) of length) and the other in the east (Skopje – Novi Sad – Belgrade – Sarajevo with 2,687 kilometres (1,670 mi) of length). The final torchbearer, from a total of 1600, was figure skater Sanda Dubravčić, who received the torch from skier runner Ivo Čarman. Today one of the two original torches is in Slovenia in a private collection in Žalec, Slovenia. Also 20 more torches are in Greece owned by individual athletes, who were the torchbearers from Ancient Olympia to the nearby military airport and from Athens Domestic Airport to the Panathinaikon Stadium where the Ceremony of handing over the Olympic Flame to the Sarajevo Olympic Games Committee occurred.

------------------------------------

Henry Moore, (born July 30, 1898, Castleford, Yorkshire, England—died August 31, 1986, Much Hadham, Hertfordshire), English sculptor whose organically shaped, abstract, bronze and stone figures constitute the major 20th-century manifestation of the humanist tradition in sculpture. Much of his work is monumental, and he was particularly well-known for a series of reclining nudes.

Moore was born in a small coal-mining town near Leeds in the north of England. He was the seventh child of Raymond Spencer Moore, a Lincolnshire man of Irish ancestry, and his wife, Mary Baker, who came from Staffordshire, in the English Midlands. Moore’s father was a coal miner, a self-educated man, a socialist, and a trade unionist.

Moore won a scholarship to the Castleford Grammar School, where he studied from 1909 to 1915 and was much encouraged by the art instructor Alice Gostick. Already ambitious to become a sculptor, the young Moore acceded to his father’s wish that he should first train to be a schoolteacher. For several months he practiced teaching, but because of World War I further training had to be postponed, and in February 1917 Moore joined the British Army. He was sent to France, where, after an intensive bombardment, Moore suffered from the effects of gas shells. He collapsed and was sent back to England for hospital treatment and convalescence. In September 1919 he was given a rehabilitation grant, which he used to go to the Leeds School of Art, where he studied for two years. In his first year at Leeds, Moore spent most of his time studying drawing. Although he wanted to study sculpture, no teacher was appointed until his second year; Moore became his first pupil. He was soon joined by a young student from nearby Wakefield, Barbara Hepworth, who also became a major sculptor.

Moore’s intellectual horizons slowly began to broaden, and he was excited by the modern paintings that he saw in the private collection of the vice-chancellor of the University of Leeds, Sir Michael Sadler. At the end of his second year at Leeds School of Art, Moore passed the sculpture examination and was awarded a Royal Exhibition scholarship to study at the Royal College of Art in London. In September 1921 he moved to London and began three years of advanced study in sculpture; he took his diploma at the Royal College after two years and spent a third year doing postgraduate work. Moore found a good friend and lifetime supporter in the director there, William Rothenstein, who was not unsympathetic to modern artistic tendencies, although he remained a conservative artist himself.

Instruction at the Royal College of Art was less important to Moore than the opportunity to study the works in the museums of London—particularly in the British Museum, with its wide-ranging collection of ancient sculpture. Also close at hand was the fine collection of Auguste Rodin’s sculpture at the Victoria and Albert Museum, but Moore was already reacting against the European sculptural tradition and turning instead to “primitive” and archaic art. He was discovering for himself the power and beauty of Egyptian, Etruscan, and, later, pre-Columbian and African sculpture.

Upon graduating from the Royal College in 1924, Moore was appointed a part-time instructor in sculpture there for a seven-year term. His exceptional gifts and potential stature were already recognized by those who knew him best. He was also awarded a traveling scholarship and spent the first six months of 1925 in France and Italy. Back in England, Moore began work in 1926 on the first of his depictions of reclining women. He was also carving a variety of subjects in stone, including half-length female figures, mother-and-child groups, and masks and heads. Though certain works show his awareness of the Romanian sculptor Constantin Brancusi and the Cubist sculptors, the most important influence on Moore’s work at this time was that of ancient Mexican stone carving. In the Trocadero Museum in Paris he had been impressed by a plaster cast of a limestone Chac Mool—a Mayan representation of the rain spirit, depicted as a male reclining figure with its knees drawn up together, its staring head at a right angle to its body, and its hands holding on its stomach a flat dish for sacrifices. Moore became fascinated with this sculpture, which seemed to him to have qualities of power, sensitivity, three-dimensional depth, and originality of form that no other stone sculpture possessed. Disdainful of conventional standards of the beautiful, and seeking a way to imbue his own work with such qualities, he changed the Mexican male figure into a female one, the better to express a more human, earthy, and rhythmic image of his own. This image of a reclining woman would continue to be a major motif throughout his career.

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Predmet: 60801937
OVO JE ORIGINALNI PLAKAT
62 x 85 cm
urolan
samo srbija
ovaj plakat ne saljem u inostranstvo

Henri Mur (engl. Henry Moore; Kaslford, 30. jul 1898 — Mač Hedam, 31. avgust 1986) je bio britanski vajar. Njegove skulpture nalaze se na mnogim javnim mestima, kao što su zgrada UNESKO u Parizu i centar „Linkoln“ u Njujorku.

Rodio se kao sedmo od osmoro dece u porodici rudara. Otac mu je bio ubeđeni socijalista. Iz Prvog svetskog rata se vratio kao invalid usled trovanja bojnim otrovima. Posle rata je studirao i putovao po Francuskoj, Italiji i Španiji.

---------------------------------------------- -----------------------------------------

XIV Zimske olimpijske igre su održane 1984. godine u Sarajevu, tadašnjoj Socijalističkoj Federativnoj Republici Jugoslaviji. Ostali gradovi kandidati za Olimpijske igre su bili Saporo, Japan i Falun/Geteborg, Švedska.

Ovo su bile prve zimske i druge zaredom igre generalno održane u Istočnoj Evropi, na govornom području slovenskih jezika i u socijalističkoj zemlji, kao i prve i za sada jedine Olimpijske igre održane u državi iz Pokreta nesvrstanih i u većinski muslimanskom gradu. Takođe, ovo je bilo prvi put da se Olimpijske igre organizuju na Balkanskom poluostrvu nakon prvih u modernom dobu u Atini.

Sarajevo je organizaciju zimskih olimpijskih medalja dobilo u konkurenciji s japanskim Saporom i zajedničkom kandidaturom švedskih gradova Falun i Geteborg. MOK se pri tome delimično vodio političkim razlozima - kao nesvrstana zemlja, tadašnja Jugoslavija je davala manje prilike za hladnoratovske bojkote - ali glavni je motiv ipak bila želja da se Igre, kao simbol svjetskog mira i bratstva među ljudima - održe u gradu koji je dotada obično bio vezivan za izbijanje Prvog svjetskog rata.

Za vlasti Jugoslavije sarajevske Olimpijske igre su bile sjajna prilika da državu svetu predstave u najboljem mogućem svetlu, i u tom nastojanju ih nije omela ni velika ekonomska kriza koja je SFRJ bila pogodila početkom 1980-ih. U Igre su utrošena velika sredstva, te sagrađen veliki broj impozantnih građevina i ostale infrastrukture. U tome su vlasti imale podršku Sarajlija, a već pre samog održavanja su Igre dovele do povećanja interesa za zimske sportove, dotada gotovo nepoznate u tom delu Jugoslavije.

------------------------------------------------

this is an original poster by h. moore
print - offset lithography
62 x 85 cm, 24,4 x 33,5 in
serbia only
I do not send this poster abroad

The poster has the official Yugoslavian Olympic logo in the lower left corner along with the 1984 official logo and is an official Olympics poster.

The 1984 Winter Olympics, officially known as the XIV Olympic Winter Games (French: XIVes Jeux olympiques d`hiver; Serbo-Croatian: XIV. zimske olimpijske igre / XIV Зимске олимпијске игре; Macedonian: XIV Зимски олимписки игри; Slovene: XIV olimpijske zimske igre), was a winter multi-sport event which took place from 8–19 February 1984 in Sarajevo, Yugoslavia, in what is now Bosnia and Herzegovina. Other candidate cities were Sapporo, Japan; and Gothenburg, Sweden.

It was the first Winter Olympic Games held in a socialist state and in a Slavic language-speaking country. It was also the second Olympics overall, as well as the second consecutive Olympics, to be held in a socialist and in a Slavic language-speaking country after the 1980 Summer Olympics were held in Moscow, Soviet Union. Furthermore, it was the first Olympics held in the Balkans after the first modern Games in Athens. The Sarajevo games have also been the only Olympics so far to be hosted by a Non-Aligned Movement member.

The host city for the XIV Winter Olympics was announced on 18 May 1978 during an 80th session of the International Olympic Committee in Athens, Greece. Sarajevo was selected over Sapporo, Japan (which hosted the games 12 years earlier) by a margin of three votes. Gothenburg was the first city in Sweden to lose a Winter Olympics bid, as other Swedish cities such as Falun and Östersund would later lose their consecutive bids to Calgary, Albertville, Lillehammer, Nagano, and Salt Lake City respectively. Sarajevo, capital of present-day Bosnia and Herzegovina, was part of the united Yugoslavia at the time.

The torch relay for the 1984 Winter Olympics started in Olympia and then proceeded by airplane to Dubrovnik. The total distance of the torch relay through Yugoslavia was 5,289 kilometres (3,286 mi) (plus 2,879 kilometres (1,789 mi) of local routes). There were two main routes – one in the west (Split – Ljubljana – Zagreb – Sarajevo with 2,602 kilometres (1,617 mi) of length) and the other in the east (Skopje – Novi Sad – Belgrade – Sarajevo with 2,687 kilometres (1,670 mi) of length). The final torchbearer, from a total of 1600, was figure skater Sanda Dubravčić, who received the torch from skier runner Ivo Čarman. Today one of the two original torches is in Slovenia in a private collection in Žalec, Slovenia. Also 20 more torches are in Greece owned by individual athletes, who were the torchbearers from Ancient Olympia to the nearby military airport and from Athens Domestic Airport to the Panathinaikon Stadium where the Ceremony of handing over the Olympic Flame to the Sarajevo Olympic Games Committee occurred.

------------------------------------

Henry Moore, (born July 30, 1898, Castleford, Yorkshire, England—died August 31, 1986, Much Hadham, Hertfordshire), English sculptor whose organically shaped, abstract, bronze and stone figures constitute the major 20th-century manifestation of the humanist tradition in sculpture. Much of his work is monumental, and he was particularly well-known for a series of reclining nudes.

Moore was born in a small coal-mining town near Leeds in the north of England. He was the seventh child of Raymond Spencer Moore, a Lincolnshire man of Irish ancestry, and his wife, Mary Baker, who came from Staffordshire, in the English Midlands. Moore’s father was a coal miner, a self-educated man, a socialist, and a trade unionist.

Moore won a scholarship to the Castleford Grammar School, where he studied from 1909 to 1915 and was much encouraged by the art instructor Alice Gostick. Already ambitious to become a sculptor, the young Moore acceded to his father’s wish that he should first train to be a schoolteacher. For several months he practiced teaching, but because of World War I further training had to be postponed, and in February 1917 Moore joined the British Army. He was sent to France, where, after an intensive bombardment, Moore suffered from the effects of gas shells. He collapsed and was sent back to England for hospital treatment and convalescence. In September 1919 he was given a rehabilitation grant, which he used to go to the Leeds School of Art, where he studied for two years. In his first year at Leeds, Moore spent most of his time studying drawing. Although he wanted to study sculpture, no teacher was appointed until his second year; Moore became his first pupil. He was soon joined by a young student from nearby Wakefield, Barbara Hepworth, who also became a major sculptor.

Moore’s intellectual horizons slowly began to broaden, and he was excited by the modern paintings that he saw in the private collection of the vice-chancellor of the University of Leeds, Sir Michael Sadler. At the end of his second year at Leeds School of Art, Moore passed the sculpture examination and was awarded a Royal Exhibition scholarship to study at the Royal College of Art in London. In September 1921 he moved to London and began three years of advanced study in sculpture; he took his diploma at the Royal College after two years and spent a third year doing postgraduate work. Moore found a good friend and lifetime supporter in the director there, William Rothenstein, who was not unsympathetic to modern artistic tendencies, although he remained a conservative artist himself.

Instruction at the Royal College of Art was less important to Moore than the opportunity to study the works in the museums of London—particularly in the British Museum, with its wide-ranging collection of ancient sculpture. Also close at hand was the fine collection of Auguste Rodin’s sculpture at the Victoria and Albert Museum, but Moore was already reacting against the European sculptural tradition and turning instead to “primitive” and archaic art. He was discovering for himself the power and beauty of Egyptian, Etruscan, and, later, pre-Columbian and African sculpture.

Upon graduating from the Royal College in 1924, Moore was appointed a part-time instructor in sculpture there for a seven-year term. His exceptional gifts and potential stature were already recognized by those who knew him best. He was also awarded a traveling scholarship and spent the first six months of 1925 in France and Italy. Back in England, Moore began work in 1926 on the first of his depictions of reclining women. He was also carving a variety of subjects in stone, including half-length female figures, mother-and-child groups, and masks and heads. Though certain works show his awareness of the Romanian sculptor Constantin Brancusi and the Cubist sculptors, the most important influence on Moore’s work at this time was that of ancient Mexican stone carving. In the Trocadero Museum in Paris he had been impressed by a plaster cast of a limestone Chac Mool—a Mayan representation of the rain spirit, depicted as a male reclining figure with its knees drawn up together, its staring head at a right angle to its body, and its hands holding on its stomach a flat dish for sacrifices. Moore became fascinated with this sculpture, which seemed to him to have qualities of power, sensitivity, three-dimensional depth, and originality of form that no other stone sculpture possessed. Disdainful of conventional standards of the beautiful, and seeking a way to imbue his own work with such qualities, he changed the Mexican male figure into a female one, the better to express a more human, earthy, and rhythmic image of his own. This image of a reclining woman would continue to be a major motif throughout his career.
60801937 Henry Moore - Sarajevo 1984 - PLAKAT

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