35:. 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. For many years, the only facts about her life were largely based on a number of brief sources, of varying authority. Facts had been sketchy and in places tentative. Until recently, there was not even a firm date for her birth from which to measure. The most complete biography to date is the book titled "Paper Life" and its Spanish version "El Angel del Origami" by Laura Rozenberg.
101:
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 Ligia
Montoya's declining health, spelt her end a year later, but not before she made careful drawings and folded duplicates of many of her voluminous productions, so that her life's work might survive her. 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."
62:, Argentina, Dr Vicente Solórzano Sagredo published an ambitious series of origami books. At first these were illustrated with photographs; then he employed Ligia Montoya to do careful drawings, using Solórzano's complex notation system. However, her work there, not only as illustrator but, necessarily, as analyst—even improver—of his folds, went unacknowledged.
124:
119:
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
100:
In the mid-1960s, the active
Spanish paperfolder Francisco del Rio attempted, unsuccessfully, to draw Ligia 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 three
114:
paper (always) in the living forms it represents. Her origami
Nativity crèche scene is an outstanding example. Ligia Montoya was long the only Spanish-speaking member (honorary) of the Origami Center. Robert Harbin's extended section on Montoya in his 1971
109:
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
135:: "The artistic folder, best illustrated by Ligia Montoya, observes the limitations of the paper, emphasizes clean-cut straight lines, which are characteristic of folds, and produces beautiful and somewhat stylized figures."
69:, 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
23:
movement from the 1950s, from which developed modern artistic origami—that is, innovative paper-folding exploring a variety of different approaches, rather than repeating limited traditional figures.
127:
version of
Montoya Nativity—not on airmail paper, and with additional magi figures based on one by Spanish follower of Unamuno, another by Adolfo Cerceda, a third by Yoshizawa.
120:
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."
19:(February 23, 1920 – April 18, 1967) was an Argentinian paper-folding artist, who played an important role in all aspects of the 'golden age' of the international
73:. Through the New York Origami Center (now OrigamiUSA) and Legman's connections, Ligia Montoya developed extensive communication with the founder of the Center,
94:
131:
Hers seems to have been a public life of fine paper, folded or written upon. A beginning of an account of her aesthetic is suggested by
247:
177:
158:
218:
However, the online facsimile of the catalogue for the exhibit lists only five of her models against over forty of
Yoshizawa's.
47:
335:
330:
286:
207:
59:
325:
320:
219:
74:
278:
196:
263:, pp. 13f). For an appreciation of Professor Sakoda, in his turn, see "Lister List" entry,
70:
65:
For many years, starting in 1952, Ligia
Montoya joined in extended communication with American
46:
and the closing of universities in 1936, she returned to
Argentina, enrolling in literature at
294:
243:
189:
173:
154:
43:
302:
264:
86:
51:
66:
42:, where she completed elementary then high school education. With the outbreak of the
314:
93:. Montoya and Yoshizawa works were featured in the 1959 paperfolding exhibit at the
82:
198:; for a fuller account and estimate, his "History of Paperfolding in South America".
132:
170:
El Angel del
Origami, una biografĂa de Ligia Montoya escrita por Laura Rozenberg
78:
123:
32:
111:
20:
122:
39:
188:
For basic information on SolĂłrzano see George Ho's online table
89:
in Japan. A profile of her, with picture, was published in the
229:
31:
Ligia Montoya was born in Buenos Aires in the Republic of
153:. Written by Laura Rozenberg. Printed in the USA (2016)
169:
150:
81:, Fred Rohm and Samuel Randlett in the United States;
38:
In youth Ligia Montoya travelled from Buenos Aires to
208:
For contextual information see David Lister's account
8:
191:; for a brief account of his Spanish term "
195:" see David Lister's "The Lister List":
143:
151:Paper Life, the Story of Ligia Montoya
7:
250:), pp. 106–142—including her crèche.
95:Cooper-Hewitt National Design Museum
50:and studying for a second degree in
242:New York, NY: Dover, 3d edn, 1997 (
14:
306:memorial article on James Sakoda
297:Origami in Mental Health Therapy
1:
85:and Iris Walker in England;
48:Universidad de Buenos Aires
352:
290:article mentioning Montoya
172:. Impreso en USA (2016).
58:). Beginning in 1938 in
128:
126:
105:Style and influences
75:Lillian Oppenheimer
129:
117:Secrets of Origami
77:, as well as with
336:Argentine artists
44:Spanish Civil War
343:
267:
257:
251:
240:
234:
227:
221:
216:
210:
205:
199:
186:
180:
167:
161:
148:
351:
350:
346:
345:
344:
342:
341:
340:
331:Origami artists
311:
310:
281:The Lister List
275:
270:
258:
254:
241:
237:
228:
224:
217:
213:
206:
202:
187:
183:
168:
164:
149:
145:
141:
107:
87:Akira Yoshizawa
56:bibliotecologĂa
52:library science
29:
12:
11:
5:
349:
347:
339:
338:
333:
328:
323:
313:
312:
309:
308:
300:
292:
284:
279:David Lister,
274:
273:External links
271:
269:
268:
261:Modern Origami
252:
248:978-0486297071
235:
222:
211:
200:
181:
178:978-1535417952
162:
159:978-1533312952
142:
140:
137:
106:
103:
67:Gershon Legman
28:
25:
13:
10:
9:
6:
4:
3:
2:
348:
337:
334:
332:
329:
327:
324:
322:
319:
318:
316:
307:
305:
301:
299:
298:
293:
291:
289:
285:
283:
282:
277:
276:
272:
265:
262:
256:
253:
249:
245:
239:
236:
232:
226:
223:
220:
215:
212:
209:
204:
201:
197:
194:
190:
185:
182:
179:
175:
171:
166:
163:
160:
156:
152:
147:
144:
138:
136:
134:
125:
121:
118:
113:
104:
102:
98:
96:
92:
88:
84:
83:Robert Harbin
80:
76:
72:
68:
63:
61:
57:
53:
49:
45:
41:
36:
34:
26:
24:
22:
18:
17:Ligia Montoya
303:
296:
287:
280:
260:
255:
238:
230:
225:
214:
203:
193:papiroflexia
192:
184:
165:
146:
133:James Sakoda
130:
116:
108:
99:
90:
64:
55:
37:
30:
16:
15:
326:1967 deaths
321:1920 births
304:Lister List
295:George Ho,
288:Lister List
315:Categories
139:References
79:Alice Gray
71:Kayaragusa
259:(Sakoda,
91:Origamian
33:Argentina
27:Biography
112:airmail
60:CĂłrdoba
21:origami
246:
176:
157:
40:Spain
244:ISBN
231:FOLD
174:ISBN
155:ISBN
317::
97:.
266:.
233:.
54:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
