Ligia Montoya
Encyclopedia
Ligia Montoya: Argentinian paper-folding artist, who played an important role in all aspects of the 'golden age' of the international origami
movement from the 1950s, from which modern artistic origami--that is, innovative paper-folding exploring a variety of different approaches, rather than repeating limited traditional figures--developed.
In youth Señorita Montoya travelled from Buenos Aires to Spain
, where she completed elementary then high school education. With the outbreak of the Spanish Civil War
and the closing of universities in 1936, she returned to Argentina, enrolling in literature at Universidad de Buenos Aires and studying for a second degree in library science
(bibliotecológicas). Beginning in 1938 in Córdoba
, Argentina, Dr Vicente Solórzano Sagredo published an ambitious series of origami books. At first these were illustrated with photographs; then he employed Señorita Montoya to do careful drawings, before any international standard notation had been developed. However, her work there, not only as illustrator but, necessarily, as analyst—even improver—of his folds, as well as innovator in diagram notation, went unacknowledged. Señorita Montoya next joined in extended communication with American Gershon Legman
, with whom she worked cooperatively for years on technical and artistic aspects of paperfolding. Her most celebrated analytic accomplishment was reconstruction of the base for the famous dragonfly from the Japanese Kayaragusa, published in 1958 in Origamian, the journal of the newly formed (New York) Origami Center (now OrigamiUSA
). Through this journal and Legman's connections, in time Señorita Montoya communicated extensively with the founder of the Center, Lillian Oppenheimer
, as well as with Alice Gray, Fred Rohm and Samuel Randlett in the United States; Robert Harbin
and Iris Walker in England; Akira Yoshizawa
in Japan. A profile of her, with picture, was published in the Origamian. Montoya and Yoshizawa works were featured in the 1959 paperfolding exhibit at the Cooper-Hewitt National Design Museum.
In the mid-1960s, the active Spanish paperfolder Francisco del Rio attempted, unsuccessfully, to draw Señorita Montoya into the center of organized paperfolding culture. She reportedly wished only to keep house for her close family, consisting of her mother, sister, brother-in-law and their two children--with time for paper-folding and correspondence. It appears that a serious accident in the early 1960s, followed by her mother’s death in 1966, added to Señorita Montoya’s declining health, spelt her end a year later, but not before she had given paperfolding classes to teachers at an art school, and made careful drawings and folded duplicates of many of her voluminous productions, so that her life’s work might survive her. To this date, however, her autograph models have not been assembled and only one serious study of her work, difficult to obtain, has been published, in Spanish. David Lister observes: "For the grace and simple beauty of her creations and also her folding, no other paperfolder has been admired more than Ligia Montoya. Yet she herself remains an enigmatic person. She corresponded generously with many other folders throughout the world, yet she surrounded her private life with a barrier of modesty that none could penetrate."
paper (always) in the living forms it represents. Her origami Nativity crèche scene is an outstanding example. Señorita Montoya was long the only Spanish-speaking member (honorary) of the Origami Center. Robert Harbin's extended section on Montoya in his 1971 Secrets of Origami is the main source for her designs. Harbin, who there called her "the foremost woman paper-folder today", continued: "Her creations, which are innumerable, range from simple figures of birds and flowers to fantastically difficult insects. Her work is sensitive and ingenious, and her generosity in passing on her secrets to others is widely known. My great regret is that nobody will ever be able to set down on paper, or put into diagram form, the whole of her work."
Additional research is required to establish biographical facts for Ligia Montoya, to distinguish her designs, to better comprehend her aesthetic and her influence in the development of the modern art form both in Latin America and in international paperfolding culture of today. Hers seems to have been a public life of fine paper, folded or written upon. Over fifty years on, concerted work is necessary to collect her voluminous correspondence and, notably, the many delicate autograph works she scattered worldwide into the hands of others.
Origami
is the traditional Japanese art of paper folding, which started in the 17th century AD at the latest and was popularized outside Japan in the mid-1900s. It has since then evolved into a modern art form...
movement from the 1950s, from which modern artistic origami--that is, innovative paper-folding exploring a variety of different approaches, rather than repeating limited traditional figures--developed.
Brief biography
Ligia Montoya was born in the Province of Buenos Aires in the Republic of Argentina, where she lived most of her life. Of a shy and retiring nature, she nevertheless came into extended correspondence with leading paperfolders internationally, and to be highly respected, as the “Angel of Origami”, and thus influential in the development of this modern art. Although she never published a projected book of her numerous designs, she posted many original models abroad. Pertinent biographical facts remain sketchy and in places tentative. Until recently, there was not even a firm date for her birth from which to measure. Accordingly, the following account is hypothetical, to invite interest, correction and supplement.In youth Señorita Montoya travelled from Buenos Aires to Spain
Spain
Spain , officially the Kingdom of Spain languages]] under the European Charter for Regional or Minority Languages. In each of these, Spain's official name is as follows:;;;;;;), is a country and member state of the European Union located in southwestern Europe on the Iberian Peninsula...
, where she completed elementary then high school education. With the outbreak of the Spanish Civil War
Spanish Civil War
The Spanish Civil WarAlso known as The Crusade among Nationalists, the Fourth Carlist War among Carlists, and The Rebellion or Uprising among Republicans. was a major conflict fought in Spain from 17 July 1936 to 1 April 1939...
and the closing of universities in 1936, she returned to Argentina, enrolling in literature at Universidad de Buenos Aires and studying for a second degree in library science
Library science
Library science is an interdisciplinary or multidisciplinary field that applies the practices, perspectives, and tools of management, information technology, education, and other areas to libraries; the collection, organization, preservation, and dissemination of information resources; and the...
(bibliotecológicas). Beginning in 1938 in Córdoba
Córdoba, Argentina
Córdoba is a city located near the geographical center of Argentina, in the foothills of the Sierras Chicas on the Suquía River, about northwest of Buenos Aires. It is the capital of Córdoba Province. Córdoba is the second-largest city in Argentina after the federal capital Buenos Aires, with...
, Argentina, Dr Vicente Solórzano Sagredo published an ambitious series of origami books. At first these were illustrated with photographs; then he employed Señorita Montoya to do careful drawings, before any international standard notation had been developed. However, her work there, not only as illustrator but, necessarily, as analyst—even improver—of his folds, as well as innovator in diagram notation, went unacknowledged. Señorita Montoya next joined in extended communication with American Gershon Legman
Gershon Legman
Gershon Legman was an American cultural critic and folklorist.-Life and work:Legman was born in Scranton, Pennsylvania to Emil and Julia Friedman Legman, both of Hungarian/Romanian Jewish descent; his father was a railroad clerk and butcher...
, with whom she worked cooperatively for years on technical and artistic aspects of paperfolding. Her most celebrated analytic accomplishment was reconstruction of the base for the famous dragonfly from the Japanese Kayaragusa, published in 1958 in Origamian, the journal of the newly formed (New York) Origami Center (now OrigamiUSA
OrigamiUSA
OrigamiUSA is the largest origami organization in the United States, with offices located at the American Museum of Natural History in New York City. It was founded in 1980 by Michael Shall, Alice Gray, and Lillian Oppenheimer as the Friends of the Origami Center of America...
). Through this journal and Legman's connections, in time Señorita Montoya communicated extensively with the founder of the Center, Lillian Oppenheimer
Lillian Oppenheimer
Lillian Rose Vorhaus Kruskal Oppenheimer was an American origami pioneer. She popularized origami in the West starting in the 1950s, and is credited with popularizing the Japanese term origami in English-speaking circles, which gradually supplanted the literal translation paper folding that had...
, as well as with Alice Gray, Fred Rohm and Samuel Randlett in the United States; Robert Harbin
Robert Harbin
Robert Harbin was a British magician and writer. He is noted as the inventor of a number of classic illusions, including the Zig Zag Girl...
and Iris Walker in England; Akira Yoshizawa
Akira Yoshizawa
Akira Yoshizawa was considered to be the grandmaster of origami. He is credited with raising origami from a craft to a living art...
in Japan. A profile of her, with picture, was published in the Origamian. Montoya and Yoshizawa works were featured in the 1959 paperfolding exhibit at the Cooper-Hewitt National Design Museum.
In the mid-1960s, the active Spanish paperfolder Francisco del Rio attempted, unsuccessfully, to draw Señorita Montoya into the center of organized paperfolding culture. She reportedly wished only to keep house for her close family, consisting of her mother, sister, brother-in-law and their two children--with time for paper-folding and correspondence. It appears that a serious accident in the early 1960s, followed by her mother’s death in 1966, added to Señorita Montoya’s declining health, spelt her end a year later, but not before she had given paperfolding classes to teachers at an art school, and made careful drawings and folded duplicates of many of her voluminous productions, so that her life’s work might survive her. To this date, however, her autograph models have not been assembled and only one serious study of her work, difficult to obtain, has been published, in Spanish. David Lister observes: "For the grace and simple beauty of her creations and also her folding, no other paperfolder has been admired more than Ligia Montoya. Yet she herself remains an enigmatic person. She corresponded generously with many other folders throughout the world, yet she surrounded her private life with a barrier of modesty that none could penetrate."
Style & Influences
Ligia Montoya's own designs are, in subject-matter, drawn from close observation of nature: notably birds, flowers and insects typical of Argentina. Her models are exact, fine and lively, expressing the shapes and creases of her thin, crisp and strong, white airmailAirmail
Airmail is mail that is transported by aircraft. It typically arrives more quickly than surface mail, and usually costs more to send...
paper (always) in the living forms it represents. Her origami Nativity crèche scene is an outstanding example. Señorita Montoya was long the only Spanish-speaking member (honorary) of the Origami Center. Robert Harbin's extended section on Montoya in his 1971 Secrets of Origami is the main source for her designs. Harbin, who there called her "the foremost woman paper-folder today", continued: "Her creations, which are innumerable, range from simple figures of birds and flowers to fantastically difficult insects. Her work is sensitive and ingenious, and her generosity in passing on her secrets to others is widely known. My great regret is that nobody will ever be able to set down on paper, or put into diagram form, the whole of her work."
Additional research is required to establish biographical facts for Ligia Montoya, to distinguish her designs, to better comprehend her aesthetic and her influence in the development of the modern art form both in Latin America and in international paperfolding culture of today. Hers seems to have been a public life of fine paper, folded or written upon. Over fifty years on, concerted work is necessary to collect her voluminous correspondence and, notably, the many delicate autograph works she scattered worldwide into the hands of others.