Showing posts with label Marcin Bondarowicz. Show all posts
Showing posts with label Marcin Bondarowicz. Show all posts
Marcin Bondarowicz
- i d e a m a n -

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© 2009 - Ben Heine
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Marcin is a professional Polish painter and illustrator. He lives in Poland as a freelance artist. He regularly publishes his highly elaborated cartoons on several websites and collaborates with a wide range of renowned magazines and newspapers.

Please visit his website for more info: www.bondarowiczart.republika.pl
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Wow !
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New portrait of me by
Marcin Bondarowicz (*)
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The technique is incredible.
I'm looking better than in real life!
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Thank you, Marcin.
That's another unique
birthday present!
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(*) Marcin Bondarowicz is a professional Polish cartoonist and illustrator. He is also a specialized painter and photographer. He was born in 1976 in Starachowice, Poland. He lives now in Poland as a freelance artist. He regularly publishes his cartoons on several Websites and collaborates with a wide range of magazines and newspapers. Read his full bio
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B. Heine by
Marcin Bondarowicz

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© 2008 - Marcin Bondarowicz
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This is a new portrait by my dear friend Marcin Bondarowicz.
Visit his great website and see my portrait of him...
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Creative Commons License
The Blessing of Communication
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The Tamed Lion
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By John Newton

A Lion, though by nature wild,
The art of man can tame;
He stands before his keeper, mild,
And gentle as a lamb.

He watches, with submissive eye,
The hand that gives him food,
As if he meant to testify
A sense of gratitude.

But man himself, who thus subdues
The fiercest beast of prey,
A nature more unfeeling shows,
And far more fierce than they.

Though by the Lord preserv'd and fed,
He proves rebellious still;
And while he eats his Maker's bread,
Resists his holy will.

Alike in vain, of grace that saves,
Or threat'ning law, he hears;
The savage scorns, blasphemes, and raves,
But neither loves nor fears.

O Saviour! how thy wondrous pow'r
By angels is proclaim'd,
When in thine own appointed hour,
They see this lion tam'd.

The love thy bleeding cross displays,
The hardest heart subdues;
Here furious lions while they gaze,
Their rage and fierceness lose.

Yet we are but renew'd in part,
The lion still remains;
Lord, drive him wholly from my heart,
Or keep him fast in chains.

(The poem appeared on puritansermons.com)

PS : The man I drew on the right is Marcin Bondarowicz

Creative Commons License
Looking at Myself
Phenomenal Woman
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By Maya Angelou

Pretty women wonder where my secret lies.
I'm not cute or built to suit a fashion model's size
But when I start to tell them,
They think I'm telling lies.
I say,
It's in the reach of my arms
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
I say,
It's the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

Men themselves have wondered
What they see in me.
They try so much
But they can't touch
My inner mystery.
When I try to show them
They say they still can't see.
I say,
It's in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I'm a woman

Phenomenally.
Phenomenal woman,
That's me.

Now you understand
Just why my head's not bowed.
I don't shout or jump about
Or have to talk real loud.
When you see me passing
It ought to make you proud.
I say,
It's in the click of my heels,
The bend of my hair,
the palm of my hand,
The need of my care,
'Cause I'm a woman
Phenomenally.
Phenomenal woman,
That's

(The poem appeared on shadowpoetry.com)

Creative Commons License
Two-Faced.
© 2008 - Ben Heine
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(Note : This is a portrait of my dear friend Marcin Bondarowicz)
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In The Eyes of Time
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By Joseph D. Greenwood

In the eyes of time
We are standing still
Past and present
All one line
Through psychic links
We jump the track
Into the future
Not looking back
The farther we reach
The further we go
Into imagination
And the mind below
An endless journey
Eternity's wake
Through the eyes of time
Not a moments wait

(The poem appeared on Artworksgallery.hypermart.net)

Creative Commons License
Marcin Bondarowicz, Interview


(Ben Heine © Cartoons)


Below is an interview I had several months ago
with the Polish artist Marcin Bondarowicz.
I just noticed I didn't publish it here yet!

“Close to the People,
Far Away From the Government”

By Ben Heine

Marcin Bondarowicz is a Polish satire drawer and journalist, born in 1976 in Starachowice. He is also a painter, photographer and poet. He works today as a freelance. Marcin Bondarowicz uses traditional and digital techniques. Since a while back, he specialises in newspaper-illustrations. He works for a number of Polish and international magazines and papers. A permanent exhibition of his artworks and projects of posters can be viewed on his website : [link] and his online portfolio : [link]


BH : How did you come to draw professionally?

MB : I can’t give an exact date. It was a long process of observing, finding the right form of expression and a pictorial language of my own.

The more serious you try to be, the more you run the risk of criticism. In that situation you’re a target. Nothing occurs in the abstract.

With his penetrating gaze, the skilful drawer always finds interesting issues and portrays them in the most suited way to provoke a number of feelings. My goal is not to provoke laughter but to raise the level of awareness.

In my work humour is not an end in itself but rather a way of drawing attention to the issue in an enticing way.

An important element in my drawing is that they are autobiographical. I account for someone’s life, someone I know well.

BH : Which papers, magazines and Internet sites do you work for?

MB : I work with the following publications:

Harvard Business Review Polska, Poland Monthly, Manager Magazin, BusinessWeek Polska, Przeglàd Podatkowy, Puls Biznesu, Gazeta Bankowa, Dziennik Zachodni, Integracja, Europejska, Tygodnik NIE, Nowy Robotnik, Najwyýszy CZAS, Regiony, NIE, Gazeta, Samorzàdu i Administracji, Le MONDE Diplomatique, INPRECOR Correspondance de presse internationale.

I’ve taken part in the following projects:

DV DatevSymfonia, Nestle Waters DAR NATURY, Wydawnictwa INFOR S.A., Wydawnictwa MELAS

I’ve worked with the following companies:

APOLLO, BABYONE, Only One, Hard Rock Cafe

I have also worked with the drawer’s leagues J&J [Poland] and Okcomic.net [China]. Several of my products are also to be found in private collections in Poland and abroad.

BH : What is it in the political language that inspires you the most?

MB : I have always been shocked at human misery and social injustice. As soon as I hear the word " problem "; I am always prepared to rush over there. Most important to me are the truth-tellers.

In spite of the geographical distances separating people of the world, I wish to try to bring them closer to each other and give as much of myself as possible.

BH : Should there be any limitation to freedom of speech whatsoever? If yes, then what boundaries is one not allowed to transgress?

MB : Much depends on the drawer’s distinctiveness, character, conduct towards others and the principles they have in life.

But there’s always a red line, a boundary you should never transgress.

The power of the word can stir up and be life-giving. The word owns the power to cut like knives. They are destructive and can even bring death. The drawing, in my view, possesses a similar power. It is a real weapon in the hands of a drawer who knows how to use it.

BH : Is there, according to you, one single form of freedom of speech or are there several? (Depending on diverse cultures and different countries.)

MB : The word freedom is an abstract term. Political, cultural and religious differences divide the world. We don’t have enough time or strength for bringing them together.

The belief that we have the ability to create new rules of the game in this world is a utopia. The only thing we can do is to try to get a better understanding and be more tolerable towards our neighbour. We have to move forward without hurting others.

BH : What do you think of the Holocaust cartoon contest arranged by the Iranian daily Hamshari in response to the caricatures of Mohammed published in various European dailies?

MB : I feel a lot of grief and bitterness with regard to this contest. I think the cartoons speak for themselves.

If they are to be condemned, then let them be condemned. The readers can tell the difference between big and small on their own. I have myself made drawings with the Holocaust as the motive but am immune since I never attack anyone.

BH : Have any of your drawings been censured? If yes, then why and under what circumstances?

MB : Yes, I’ve found myself in such situations. It’s always been about drawings depicting politicians in my country. I cannot reveal the names of these individuals because if I talk about them, they’ll receive attention they don’t deserve.

BH : Are you practicing self-censorship? Which are the most difficult topics to depict?

MB : My only self-censorship is deliberate. If touching certain of my topics hurt, I abandon them, I don’t go any further. I like to experiment but try to avoid repeating the same mistake.

BH : Do you think the drawing is a political power able to change people’s behaviour?

MB : Yes, the satirical drawing possesses great power. One mustn’t forget that it has the power of a weapon. In a lunatic’s hands it can cause a lot of damage. I sometimes ask myself if the drawing-diploma isn’t comparable to a firearms permit.

To answer the second part of the question: can the drawing change people’s behaviour? I believe the drawing can intimidate.

If the drawing is suggestive enough to leave an impression on people’s unconsciousness, then that’s an important first step in a transformation process of people’s attitudes (but they will first have to incorporate it). It’s only a matter of time, but according to me man is not perfect, she always goes for the least strenuous.

BH : Do you think that the satirical drawer is an artist or rather a journalist, or even both?

MB : That question means a lot to me as I am at heart a TV-journalist Right now I’m making satirical drawings in cooperation with the editorial office of my paper.

If you’re practicing this profession, the drawing profession, you have to be in accordance with your own conscience and choose to say the truth and not express the political beliefs of the editors or art directors.

You always have to bear in mind the assignment you’ve accepted. Close to the people, far away from the government. The drawing profession has a lot in common with journalism.

But in order to have fun you have to translate the issues you deal with into illustrations and put the emotions of the onlookers in motion. You have to be an artist in order to achieve this. It is this that creates the bond to the shared fantasy of the readers.

BH : According to you, is the role of the drawer to make people laugh or to think?

MB : Thinking means most, because reason is eternal. Laughter is temporarily.

BH : Which situation or person do you think is hardest to draw?

MB : I can never draw a magical formula to make the world a better place because I am myself a part of it.

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--> This interview was translated from Swedish to English by Kristoffer Larsson

--> Original Interview and portrait by Ben Heine

--> Marcin Bondarowicz's art can also be seen on the following websites:

BRAZILCARTOON GALLERY: [link]

BONDAROWICZ 2006 Benjamin HEINE CARTOONS: [link]

CARTOONIA MARCIN BONDAROWICZ PROFIL: [link]

:::HOP CARTOON::: CARTOONS by MARCIN BONDAROWICZ: [link]

AGENCJA RYSUNKOWA J&J – MARCIN BONDAROWICZ: [link]

BLOG SATIRA – MARCIN BONDAROWICZ: [link]

PersianCartoon GALLERY Marcin Bondarowicz: [link]

AZERBAIJAN CARTOONISTS UNION: [link]

ARTIJA - LINIJE I BOJE - CARTOON GALLERY: [link]


Creative Commons License

Child Of The Universe
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I dedicate this drawing to my
good friend Marcin Bondarowicz

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Child Of The Universe

By L. C. Brown

The universe exploded,
A piece became the earth.
I rode in on a meteor,
Its crash was my birth.
Lava took me for a ride,
To cool in the sea.
I waited for millions of years,
For nature to use me.
I became a child of the universe,
With no place to go.
Then God gave life a meaning,
That's how I got my soul.
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(The poem appeared on poemhunter.com)
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Creative Commons License
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Le Monde Diplomatique,
Polish Edition

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This September, one of my paintings,
"Bushmen", is published in
the Polish edition of
"Le Monde Diplomatique"

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Many thanks to Przemysław Wielgosz, editor in chief of "Le Monde Diplomatique", Polish edition. And warm thanks to Marcin Bondarowicz for his help and kindness !

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Le Monde diplomatique

Le Monde diplomatique is a monthly publication offering analysis and opinion on politics, culture, and current affairs. Its articles are long, thoughtful, scholarly, and opinionated. First created mainly for a diplomatic audience, as its name implies, it has in recent years taken a critical view on the effects of supposed economic neoliberalism on the world and its population.

It thus includes articles both of a not so neutral, scholarly nature, and more opinionated pieces which qualify as advocacy journalism. However, its analysis and articles, because of their seriousness and accuracy, are still read by scholars and people across the entire political spectrum. Since the 1970s, its editorial line has become decidedly altermondialist and left-wing. Throughout the Cold War, it had a neutralist viewpoint, often critical of US foreign policy.

Today headed by Ignacio Ramonet, the original French edition has a circulation of about 350,000; sixteen editions in other languages bring the total to about 1.4 million readers worldwide. Jean-Marie Colombani, editor of the daily Le Monde, was attributed by Le Monde diplomatique's director general Bernard Cassen as saying: "Le Monde diplomatique is a journal of opinion; Le Monde is a journal of opinions."

1954 Formation and History

Le Monde diplomatique was founded in 1954 by Hubert Beuve-Méry, founder and director of Le Monde, the French newspaper of record. Subtitled the "organ of diplomatic circles and of large international organisations" 5,000 copies were distributed, comprising eight pages, dedicated to foreign policy and geopolitics.

Its first editor in chief, François Honti, made the newspaper into a scholarly reference journal. Honti attentively followed the birth of the Non-Aligned Movement, created out of the 1955 Bandung Conference, and the issues of the "Third World".

Claude Julien became the newspaper's second editor in January 1973. At that time, the circulation of Le Monde diplomatique had jumped from 5,000 to 50,000 copies, and would reach, with Micheline Paulet, 120,000 in less than twenty years. Without renouncing its "Third-worldism" position, it extended the treatment of its subjects, concentrating on international economic and monetary problems, strategic relations, the Middle-East conflict, etc. Le Monde diplomatique took an independent stance, criticizing the neoliberal ideology and policies of the 1980s, represented by Margaret Thatcher and Ronald Reagan.

After the November, 1989 Fall of the Berlin Wall and the 1990-1991 Gulf War, the newspaper made an important turn, and criticized the "American crusade". Ignacio Ramonet was elected director in January 1991. Le Monde diplomatique analyzed the post-Cold War world, paying specific attention to "ethnic" conflicts – the wars in former Yugoslavia, the 1994 Rwandan Genocide, the conflicts in the Caucasus, etc. – as well as to the new information technology.

After having published a famous editorial in January 1995 where Ramonet coined the term "pensée unique" ("single thought") to describe the supremacy of the neoliberal ideology, the newspaper supported the November-December 1995 general strike in France against Prime minister Alain Juppé's (RPR) plan to cut pensions. Three years later, after a proposal in a 1997 editorial by Ignacio Ramonet, Le Monde diplomatique took a founding role in the creation of ATTAC, an alter-globalization NGO, which was originally founded for advocacy of the Tobin tax, and which has since spread throughout the world.

It now supports a variety of left-wing causes. The newspaper also takes an important role in the organisation of the 2001 Porto Alegre World Social Forum. After the September 11, 2001 attacks and the Second Gulf War starting in 2003 under the George W. Bush administration, Le Monde diplomatique continues its position of criticizing the US policy of violent intervention in the Middle East and the neoconservative' project to reshape the so-called "Greater Middle East" region.

The Norwegian version of the July 2006 Le Monde diplomatique sparked interest when the editors ran, on their own initiative, a three page main story on the 9/11 attacks and summarized the various types of 9/11 conspiracy theories (which were not specifically endorsed by the newspaper, only recensed). The Voltaire Network, which has somehow changed position since the September 11 attacks and whose director, Thierry Meyssan, became a leading proponent of 9/11 conspiracy theory, explained that although the Norwegian version of Le Monde diplomatique had allowed it to translate and publish this article on its website, the mother-house, in France, categorically refused it this right, thus displaying an open debate between various national editions. In December 2006, the French version published an article by Alexander Cockburn, co-editor of CounterPunch, which strongly criticized the endorsement of conspiracy theories by the US left-wing, alleging that it was a sign of "theoretical emptiness." The Norwegian Le Monde diplomatique, did again however mark its difference from the mother edition by allowing David Ray Griffin's response to Cockburn to be published in their March 2007 issue.

Le Monde diplomatique SA

The monthly became a subsidiary company of Le Monde SA in 1996, which grants its complete editorial autonomy from Le Monde. André Fontaine, the director of Le Monde, had already signed a 1989 convention with Claude Julien which guaranteed the monthly's autonomy, but it gained complete statutory, economic and financial independence in 1996 with the creation of Le Monde diplomatique SA. With a donation from Günter Holzmann, a German antifascist exiled before World War II to Bolivia, the monthly's employees acquired approximately one-quarter of the capital, while Les Amis du Monde diplomatique, a 1901 Law association of readers, bought another quarter. Thus, since the end of 2000, the newspaper's employees and readers retain 49% of Le Monde diplomatique SA's capital, largely above the control stock necessary to control the direction and editorial line of the Monde diplo. The remaining 51% is owned by Le Monde.

Today's Distribution and Advertising

The original French edition has a circulation of about 350,000; sixteen editions in other languages bring the total to about 1.4 million readers worldwide.

Although Le Monde diplomatique publishes few in order to retain its editorial independence, it has sometimes been criticized for the quantity and nature of the published advertisements [citation needed]. In November and December 2003, two-page advertisements by IBM and a car manufacturer were placed. The issues of February and March 2004 contained advertisements by Microsoft in a 'social' atmosphere with a picture of children, which led to agitation from free software activists.

(Source : Wikipedia)
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Meeting Marcin Bondarowicz
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While abroad, I had the chance to meet in Krakow (Poland) the fantastic Polish artist Marcin Bondarowicz (Also see a previous interview with him). We virtually met about one and a half year ago and evolved together in the political cartoon spheres. And finally the meeting happened in the reality as well... I must say that his timeless art is a permanent inspiration to me. He is also such a great person. I'll try to post more pictures of this meeting in the coming days/weeks...
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THE DRUNKEN BOAT

By Arthur Rimbaud

As I was floating down unconcerned Rivers
I no longer felt myself steered by the haulers:
Gaudy Redskins had taken them for targets
Nailing them naked to coloured stakes.

I cared nothing for all my crews,
Carrying Flemish wheat or English cottons.
When, along with my haulers those uproars were done with
The Rivers let me sail downstream where I pleased.

Into the ferocious tide-rips
Last winter, more absorbed than the minds of children,
I ran! And the unmoored Peninsulas
Never endured more triumphant clamourings

The storm made bliss of my sea-borne awakenings.
Lighter than a cork, I danced on the waves
Which men call eternal rollers of victims,
For ten nights, without once missing the foolish eye of the harbor lights!

Sweeter than the flesh of sour apples to children,
The green water penetrated my pinewood hull
And washed me clean of the bluish wine-stains and the splashes of vomit,
Carring away both rudder and anchor.

And from that time on I bathed in the Poem
Of the Sea, star-infused and churned into milk,
Devouring the green azures; where, entranced in pallid flotsam,
A dreaming drowned man sometimes goes down;

Where, suddenly dyeing the bluenesses, deliriums
And slow rhythms under the gleams of the daylight,
Stronger than alcohol, vaster than music
Ferment the bitter rednesses of love!

I have come to know the skies splitting with lightnings, and the waterspouts
And the breakers and currents; I know the evening,
And Dawn rising up like a flock of doves,
And sometimes I have seen what men have imagined they saw!

I have seen the low-hanging sun speckled with mystic horrors.
Lighting up long violet coagulations,
Like the performers in very-antique dramas
Waves rolling back into the distances their shiverings of venetian blinds!

I have dreamed of the green night of the dazzled snows
The kiss rising slowly to the eyes of the seas,
The circulation of undreamed-of saps,
And the yellow-blue awakenings of singing phosphorus!

I have followed, for whole months on end, the swells
Battering the reefs like hysterical herds of cows,
Never dreaming that the luminous feet of the Marys
Could force back the muzzles of snorting Oceans!

I have struck, do you realize, incredible Floridas
Where mingle with flowers the eyes of panthers
In human skins! Rainbows stretched like bridles
Under the seas' horizon, to glaucous herds!

I have seen the enormous swamps seething, traps
Where a whole leviathan rots in the reeds!
Downfalls of waters in the midst of the calm
And distances cataracting down into abysses!

Glaciers, suns of silver, waves of pearl, skies of red-hot coals!
Hideous wrecks at the bottom of brown gulfs
Where the giant snakes devoured by vermin
Fall from the twisted trees with black odours!

I should have liked to show to children those dolphins
Of the blue wave, those golden, those singing fishes.
- Foam of flowers rocked my driftings
And at times ineffable winds would lend me wings.

Sometimes, a martyr weary of poles and zones,
The sea whose sobs sweetened my rollings
Lifted its shadow-flowers with their yellow sucking disks toward me
And I hung there like a kneeling woman...

Almost an island, tossing on my beaches the brawls
And droppings of pale-eyed, clamouring birds,
And I was scudding along when across my frayed cordage
Drowned men sank backwards into sleep!

But now I, a boat lost under the hair of coves,
Hurled by the hurricane into the birdless ether,
I, whose wreck, dead-drunk and sodden with water,
neither Monitor nor Hanse ships would have fished up;

Free, smoking, risen from violet fogs,
I who bored through the wall of the reddening sky
Which bears a sweetmeat good poets find delicious,
Lichens of sunlight [mixed] with azure snot,

Who ran, speckled with lunula of electricity,
A crazy plank, with black sea-horses for escort,
When Julys were crushing with cudgel blows
Skies of ultramarine into burning funnels;

I who trembled, to feel at fifty leagues' distance
The groans of Behemoth's rutting, and of the dense Maelstroms
Eternal spinner of blue immobilities
I long for Europe with it's aged old parapets!

I have seen archipelagos of stars! and islands
Whose delirious skies are open to sailor:
- Do you sleep, are you exiled in those bottomless nights,
Million golden birds, O Life Force of the future? -

But, truly, I have wept too much! The Dawns are heartbreaking.
Every moon is atrocious and every sun bitter:
Sharp love has swollen me up with heady langours.
O let my keel split! O let me sink to the bottom!

If there is one water in Europe I want, it is the
Black cold pool where into the scented twilight
A child squatting full of sadness, launches
A boat as fragile as a butterfly in May.

I can no more, bathed in your langours, O waves,
Sail in the wake of the carriers of cottons,
Nor undergo the pride of the flags and pennants,
Nor pull past the horrible eyes of the hulks.

- As translated by Oliver Bernard: Arthur Rimbaud, Collected Poems -
(The poem appeared on mag4.net)
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THE YOUNG FOOLS

By Paul Verlaine

High-heels were struggling with a full-length dress
So that, between the wind and the terrain,
At times a shining stocking would be seen,
And gone too soon. We liked that foolishness.

Also, at times a jealous insect's dart
Bothered out beauties. Suddenly a white
Nape flashed beneath the branches, and this sight
Was a delicate feast for a young fool's heart.

Evening fell, equivocal, dissembling,
The women who hung dreaming on our arms
Spoke in low voices, words that had such charms
That ever since our stunned soul has been trembling.

(The poem appeared on poemhunter.com)
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In the south of Poland, I also discovered the Tatra mountains (see picture below), which constitute a mountain range which forms a natural border between Slovakia and Poland. They occupy an area of 750km², the major part of which lies in Slovakia. The highest Tatra peak, at 2655m, is Gerlachovský štít, located in Slovakia. Rysy, at 2499m, is the highest Polish peak.

The Tatra Mountains are the highest mountain range in the Carpathian Mountains. Although considerably smaller than the Alps, they are classified as having an alpine landscape. Their high mountain character, combined with great accessibility, makes them popular with visitors and scientists.

The area is a well-known winter sports area, with resorts such as Poprad and the town (Mesto) Vysoké Tatry in Slovakia (in English literally (Town of the) High Tatras; created in 1999 and including the former separate resorts Štrbské Pleso, Starý Smokovec, and Tatranská Lomnica), and Zakopane, the "Winter Capital" of Poland.

The Tatra Mountains (especially the High Tatras) are known to have undergone four glaciations. The most extensive transformations were caused by a glacier 100-230 m thick; the most apparent features of this process are the numerous cirques and mountain lakes. The mountains were shaped by glacial erosion, which formed many alpine cliffs, some up to 1,000 m high.

The Mountains lie in the temperate zone of Central Europe. They are an important barrier to the movements of air masses. Their mountainous topography causes the most diverse climate in that region. The effects of global warming in the Tatra Mountains started to be visible around the 1980s.

Temperatures range from -40 °C in the winter to 33 °C in warmer months. Temperatures also vary depending on altitude and sun exposure of a given slope. Temperatures below 0 °C last for 192 days on the summits. Highest precipitation figures are recorded on northern slopes. In June and July monthly precipitation reaches around 250 mm. Precipitation occurs for 215 to 228 days a year. Thunderstorms occur 36 days a year on average.

The Mountains have a diverse variety of plants. They are home to more than 1,000 vascular plants, about 450 mosses, 200 hepatics, 700 lichens, 900 fungi, and 70 slime moulds. There are five climatic-vegetation belts in Tatras:

The Tatra Mountains are home to a lot of species of animals: 54 tardigrades, 22 turbellarians, 100 rotifers, 22 copepods, 162 spiders, 81 molluscs, 43 mammals, 200 birds, 7 amphibians and 2 reptiles. The most notable mammals are the Tatra chamois, marmot, snow vole, brown bear, wolf, Eurasian lynx, red deer, roe deer, and wild boar. Notable fish include the brook trout and alpine bullhead.

The Tatra Mountains were used in the 18th and 19th centuries for sheep grazing and mining and a lot of trees were cut down to make way for human exploitation. Although these activities were stopped, the impact is still clearly visible. Moreover, there are new problems. Pollution from the industrialized regions of Kraków, Ostrava and Orava and uncontrolled tourism are damaging the mountains.

The Slovak Tatra National Park (Tatranský národný park; TANAP) was founded in 1949, and the contiguous Polish Tatra National Park (Tatrzański Park Narodowy) was founded in 1954. Both areas were added to the UNESCO Biosphere Reserve list in 1993.

On 19 November 2004, large parts of the forests in the southern part of the High Tatras were damaged by a strong wind storm. 3 million cubic metre of trees were uprooted, two people died and several villages were totally cut off. Further damage was done by a subsequent forest fire, and it will take many years until the local ecology is fully recovered.

(Source : Wikipedia)
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CORRESPONDENCES

By Charles Baudelaire

Nature is a temple in which living pillars
Sometimes give voice to confused words;
Man passes there through forests of symbols
Which look at him with understanding eyes.

Like prolonged echoes mingling in the distance
In a deep and tenebrous unity,
Vast as the dark of night and as the light of day,
Perfumes, sounds, and colors correspond.

There are perfumes as cool as the flesh of children,
Sweet as oboes, green as meadows
— And others are corrupt, and rich, triumphant,

With power to expand into infinity,
Like amber and incense, musk, benzoin,
That sing the ecstasy of the soul and senses.

- As translated by William Aggeler -
(The poem appeared on fleursdumal.org)
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Marcin Bondarowicz's

New Selfportrait...






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Marcin Bondarowicz

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Self Portrait
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By Tony Stadick
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Am I wrong to believe in choice, perhaps freedom. Love is told to be a blessing, now I can't find time to blossom. How is it I end up like this for 1 of every 2. Unbelievably conscious and breathing in change. Hesistating to pull my way, but anxious and willing to fight for what I want and believe in. Powerful to point of no control, suddenly I'm taken over, and brought down to being dishonest with myself, or so I think. All I needs an answer... help. Like a stain I feel so notice and vunerable, if only I could wash clean and start over. Indiginous to reality and a concept of concrete, that sometimes slowly crumbles. Falling hurts especially for truth, but truth is I can't really tell, or even see what lies ahead. I know my heart pumps and it's still pretty bossy, inept to telling me what to do, instant and spontaneous I respond in just a beat. I like it though and seem to have this taste with loss of words. Description is even tough to spell. Myself is a whole nother story. Fluent for the most part and going somewhere. Happiness is awaiting arrival, for everyone, simple seclusion sometimes, anything that does the trick. The one you can never figure out. Because it truly is magic and I've seen it, in the walls and in faces. Certain that my life needs a little, for I have my destiny.

--> The poem appeared on poemhunter.com

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B. Heine by Marcin Bondarowicz
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Graphic art by Marcin Bondarowicz
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This is a portrait of me by the talented Polish artist Marcin Bondarowicz (visit his Website and online portfolio). Marcin makes paintings and cartoons with an incredible and unique style. He masters a large quantity of graphic techniques (Read his full biography below).

There is a long "portrait story" between Marcin and I. See, for instance the first portrait he did of me and the first portrait I did of him.

Now, it's my turn again and I intend to make a painting, not a simple cartoon. But I must say that I really don't know how I could do better than the above image...

Thank you Marcin, you know how much I admire you and your splendid work. (The image below is Marcin's latest graphic production)
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Marcin Bondarowicz is a painter, cartoonist and photographer. He was born in 1976 in Starachowice, Poland. He lives now in Poland as a freelance artist. He also publishes his cartoons on several Websites dedicated to the cartoons.

Marcin Bondarowicz works in traditional and digital graphic. He is doing all sort of illustrations in various techniques such as: oil painting, acrylic, computer illustration. Marcin has recently been working as a journalist specialized into press illustration.
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Education and qualifications

The Instytut of Technology in Radom: Poland [ masters degree in graphic design and painting ]
Here are some of Marcin’s achievements and rewards :

· Leader of artistic set in 1991

· Rewarded by Rector for active work during study

· Prize winner in a competition for a poster connected with preventing drug habit and integration of local community

· Prize winner in a photo competition: International Year of The Family in 1994-2004, subject mother and a child USA 2004

· The Nomination for the reward in the International Cartoon Competition Satyrykon 2005, category humor and social satire Poland

· The Special Award in BIRD2005 International Art Award CHINA

· The Bronze Prize in The 2nd WINE International Invitation Cartoon Exhibition CHINA 2005

· The Honourable Mentions [FOR-PENCIL] in The International Competition of Graphic Humour FOR pro FOR 2006 [Joke for For 2006 ] Praha, Czech Republic 2006

· Finalist of Sprito di Vino 7th International Competition for young artists of satirical cartoons concerning World Wine, Italy 2006

· Laureat The International Competition of Graphic Humour FOR pro FOR 2006 Praga Czechy - Honourable FÓR- pencil

· Sezond Prize in The Competition of a Caricature and a Short Comic Strip – Serbia 2006 THE CARICATURE WITHOUT WORDS - Free Form

· First Prize in The 6th International Contest of Pictorial Humour and Flash Humour "New technologies" BARAKALDO 2006 Spain

· Honorable Mention in The Second Baku International Cartoon Contests-2006

· Honourable Prize in The 1th International China Olympic Cartoon Competition for January, 2007

Marcin Bondarowicz has cooperated as an illustrator and sarcastic drawer with newspapers such as :

Harvard Business Review Poland, Manager Magazyn Polish Edition, BusinessWeek Polish Edition, Poland Monthly, Przegląd Podatkowy, Puls Biznesu, Gazeta Bankowa, Dziennik Zachodni, Integracja Europejska, Nowy Robotnik, Trybuna Robotnicza, Najwyższy CZAS, Regiony, Nowy Tygodnik Popularny, Gazeta Samorządu i Administracji, Le MONDE Diplomatique, Yeni Akrep – New Skorpion International Cartoon Magazine, INPRECOR Correspondance de presse internationale, KIKS and many more.
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Marcin Bondarowicz (Ben Heine © Cartoons)
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Artist's Hands
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Abidjan
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Graphic art by Marcin Bondarowicz
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Abidjan (Ivory Coast) is the town where I was born and lived 7 years, most of my early childhood. Thanks to Marcin Bondarowicz for creating this very surprising drawing. :)
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New artwork by Marcin Bondarowicz !
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New Artworks by Marcin Bondarowicz
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Check Marcin's new PUBLICATION page on his website
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New cartoon by Marcin Bondarowicz
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Marcin Bondarowicz

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--> Marcin's site
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New artwork by my brother in art,
Marcin Bondarowicz
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