miércoles, 18 de abril de 2018

El 13 de abril de 1929 Federico Cantú envía una carta a su entonces amigo y cuñado  Alfonso Fabila , la carta incluye una tinta alusiva a la figura de Ícaro , elemento que utilizara para la obra titulada Homenaje a Lord Byron , unos días depuse el 1 de mayo de 1929 nace el hijo de Federico Y Luz ( en california ) y es registrado con el nombre de ICARO

Federico Cantú 1907-1989

Federico Cantú Fabila
Los Ángeles California 1 de Mayo de1929
Tlalpan Ciudad de México 31 de Mayo de 2013

miércoles, 4 de abril de 2018

Founded, 1911
The two-house compound where author April lives on an avenue in the Hollywood Hills has been home to her husband's family business, Stendahl Galleries, since 1940. For twenty years prior, Earl L. Stendahl provided the finest examples of Impressionist and Modern art to the elite of Los Angeles collectors from his renowned galleries on Wilshire Boulevard. Stendahl was lured to the Hollywood neighborhood by collector Walter Arensberg, who, with Stendahl's help, amassed what was called by an art historian in 1950 "the most discriminating single group of twentieth century paintings and sculpture in existence."
Such was Stendahl's influence on the Southern California landscape, which began in 1911 and lasted well beyond his passing in 1966, when son Alfred Stendahl and son-in-law Joseph Dammann (already veteran dealers) carried on the business. Few remember that in 1939 Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish refugees. That historic showing was one of many pioneering efforts by Stendahl Galleries to bring important artworks to the attention of a public hungry for exposure to fine art.

Earl L. Stendahl was born in Menomonie, Wisconsin of Norwegian descent to a large family of confectioners. In San Diego, California, Stendahl began selling the works of local painters and opened his first gallery at the inauguration of the Ambassador Hotel in Los Angeles in 1921. Stendahl emerged as one of the most innovative and influential art dealers in Southern California. By the 1930s, the gallerist had established his reputation as the premier dealer in painters of the California Impressionist School. William Wendt, Guy Rose, Edgar Payne, Joseph Kleitsch and Nicolai Fechin were part of the early Stendahl stable of artists. Moving to larger quarters on Wilshire Boulevard, Stendahl introduced Modern art to the West Coast with works by Matisse, Chagall, Klee, Feitelson, Siqueiros, Cantú, Kandinsky, Braque and Picasso. In 1939 his gallery was one of only two non-museum venues in the U.S. to exhibit Pablo Picasso's masterwork, Guernica as a fundraiser for Spanish war orphans.
As early as 1935, Stendahl began promoting ancient artifacts from Mexico and Central America before branching out to become a significant dealer of the Pre-Columbian art of his day. Stendahl's son, Alfred E. Stendahl and son-in-law, Joseph Dammann, joined the family business. The gallery's archives were donated to the Smithsonian Institution's Archives of American Art in 1976.The Stendahl Gallery continues to operate, celebrating its centennial in 2011, with Earl Stendahl's grandson, Ronald W. 
Dammann, presiding

martes, 20 de marzo de 2018

Spring is one of the four conventional temperate seasons, following winter and preceding summer. There are various technical definitions of spring, but local usage of the term varies according to local climate, cultures and customs. When it is spring in the Northern Hemisphere, it will be autumn in the Southern Hemisphere. At the spring equinox, days are approximately 12

 hours long with day length increasing as the season progresses. Spring and "springtime" refer to the season, and also to ideas of rebirth, rejuvenation, renewal, resurrection and regrowth. Subtropical and tropical areas have climates better described in terms of other seasons, e.g. dry or wet, monsoonal or cyclonic. Often, cultures have locally defined names for seasons which have little equivalence to the terms originating in Europe.

martes, 13 de marzo de 2018

Holy Week (Latin: Hebdomas Sancta or Hebdomas Maior, "Greater Week"; Greek: Ἁγία καὶ Μεγάλη Ἑβδομάς, Hagia kai Megale Hebdomas, "Holy and Great Week") in Christianity is the week just before Easter. In the West, it is also the last week of Lent, and includes Palm Sunday, Holy Wednesday (Spy Wednesday), Maundy Thursday (Holy Thursday), Good Friday (Holy Friday), and Holy Saturday. It does not include Easter Sunday, although traditions observing the Easter Triduum may overlap or displace part of Holy Week or Easter itself within that additional liturgical period.
La Madona en la obra de Federico Cantú 1907-1989

Una larga y fructífera evolución de formas en torno a la Madona
Grabado , obra mural , tinta , escultura , relieves …………

Dan forma a uno de los símbolos mas importantes de la estética Mexicana
Es Cantú uno de los mas grandes maestros que logra en su obra la síntesis 
Sacra y profana , Europea y mesoamericana , una fusión de identidad 
Prehispánica y Occidental fundidas a la para en una amalgama cultural
 En estas composiciones nos solo admiramos el estilo propio del maestro
de paso las imágenes cohabitan en la intemporalidad donde se extiende la creación Cantú

Adolfo Cantú
Colección de Arte Cantú Y de Teresa

Textos Adolfo Cantú
Colección Cantú Y de Teresa
Copyright © 1989-2018

FCG Copyright ©

sábado, 17 de febrero de 2018

New York Times archive - Federico Cantú

New York Times archive.

February 08, 1938 - By EDWARD ALDEN JEWELL - Print Headline: "SHOW REPRESENTS MEXICAN ARTISTS; Work of Fifteen Painters of Present Day on View at the Valentine Gallery"
Siqueiros, Julio Castellanos and Dr. Atl, although much less familiar than the first three named, are not newcomers here, but Federico Cantu, Gabriel Fernandez Ledesma, Guerrero Galvan, Augustin Lazo, Roberto

May 21, 1939 - - Print Headline: "OPENINGS OF THE WEEK"
Associated American Artists Gallery (May 23-June 12). Brabazon, Hercules--Water-colors. Knoedler Galleries (May 22-June 3). CantuFederico--Recent oils. Charles Morgan Gallery. (May 22-June 10). Dix,

May 28, 1939,
AMERICAN artists to the number of thirty-six are repre sented in the eleventh annual exhibition of the American Print Makers, current (till June 12) at the galleries of Associated American Artists. Informal in operation, this organization has no officers, but Anne Goldthwaite, one of the twelve founders, acts as chairman.

January 28, 1940,
new exhibitors in -- the galleries-Ar bit Blatas, born in Lithuania, whose paintings are at the French Art Gallery, and Federico Cantu, of Mexican birth, whose oils and drawings may be seen at the Charles Morgan Gal

April 11, 1943 - By EDWARD ALDEN JEWELLE.A.J - Print Headline: "BIG NEW GROUP EXHIBITIONS; The International Water-Color Show at the Brooklyn Museum -- 'Arizona Plan' at the Metropolitan -- Annual by Women"
which, the appeal of some of the water-colors by IViariano, and of Amer-. Pelaez is not to be denied. It seems to me that Federico Cantu and Guillerrno rather than Rivera, Orozco and 1Vferida, enliven the 1V[ group

April 16, 1944 - By HOWARD DEVREE - Print Headline: "NEW GROUP SHOWS ARE VARIED"
and several small and adept wood figures by Ellen Key-Oberg. The Artists' Gallery is showing drawings by Hans Boehler, Federico Cantu, Maurice Golubov, Joseph and Louis Monza, and etchings and lithographs by Charles

November 10, 1946 - By H.R. HAYS - Print Headline: "People of San Rafael"
Mackinley Helm is no exception.People of San Rafael By H.R. HAYS A MATTER OF LOVE. By Mackinicy Helm. Decorations . by Federico Cantu. 251 pp. New York: Harper Ec Bros. s2.50. tales of a provincial city of the

miércoles, 14 de febrero de 2018

Alfredo Ramos Martínez 1871-1946
Cantú Y de Teresa Collection

Alfredo Ramos Martínez (November 12, 1871 in Monterrey, Nuevo León, Mexico – November 8, 1946 in Los Angeles) was a painter, muralist, and educator, who lived and worked in Mexico, Paris, and Los Angeles. Considered by many to be the 'Father of Mexican Modernism', Ramos Martínez is best known for his serene and empathetic paintings of traditional Mexican people and scenes. As the renowned Nicaraguan poet Rubén Darío wrote, "Ramos Martínez is one of those who paints poems; he does not copy, he interprets; he understands how to express the sorrow of the fisherman and the melancholy of the village.”

Ramos Martínez was born in 1871 in Monterrey, Nuevo León, the ninth child of Jacobo Ramos and his wife Luisa Martínez His father was a successful merchant trading in jewelry, fine fabrics, silver, embroidered suits and hand-woven sarapes from Saltillo.
From an early age Ramos Martínez was recognized as prodigiously talented. As a student, his preferred medium was watercolor and he won numerous awards for his achievements.
In a supreme bit of good fortune, Phoebe Hearst attended a dinner in Mexico City for the President of Mexico, Porfirio Díaz, which featured place mats designed and painted by the young Ramos Martínez. Hearst was so impressed with the decoration that she asked to meet the artist and see other examples of his work. After their meeting, she not only bought all of Ramos Martínez's watercolors, but agreed to provide financial support for the artist's continued study in Paris
Ramos Martínez's arrival in Paris in 1900 coincided with further development of the Post-Impressionist movement. He was able to see firsthand the work of Paul Gauguin, Vincent van Gogh, Henri Matisse, Claude Monet, Georges Seurat and Odilon Redon. Furthermore, Hearst’s monthly stipend of 500 francs, combined with Ramos Martínez's fluent French, afforded him a comfortable lifestyle and the ability to travel throughout Europe.
Ramos Martínez showed at a number of galleries in Paris. One of the leading art critics of the day, Camille Mauclair wrote that the work of Ramos Martínez was in the same class as the finest Impressionist landscapes exhibited in Paris. Though sales of his artwork were proceeding, and Ramos Martínez had achieved a degree of comfort as a ‘Parisian’, in 1909 he felt a strong desire to return home to Mexico.
By the time Ramos Martínez arrived in early 1910, Mexico was a nation in turmoil.The Mexican Revolution was beginning in earnest and the 30-year rule of President Porfirio Díaz was on the verge of collapse due to the pressure of the political reforms of Francisco I. Madero. Within a year of the President’s resignation in 1911, the art students at the National Academy called a strike in order to protest the 'aesthetic dictatorship' of the Academy. They demanded the establishment of a 'Free Academy' and proposed Ramos Martínez as director. Hailed as a distinguished alumnus, a bona fide European success, and sympathetic to the students’ cause, Ramos Martínez became first the assistant Director and, by 1913, the Director of the Academy.
Now, as Director, he was able to open the first of his Open Air Schools of Painting.With the example of the Impressionists and Post-Impressionists in mind and fortified by his sense of the primacy of the artist’s personal vision, Ramos Martínez's Open Air Schools redefined the nature of artistic instruction in Mexico

The political situation in Mexico remained extremely volatile for the next decade and by 1920 Ramos Martínez was reinstated as Director of the Academy. Despite all the politics, the Open Air Schools flourished and Ramos Martínez was acknowledged as a true innovator in the Mexican art world and frequently called the 'Father of Modern Mexican Art'.
Having relocated to Los Angeles in 1929, Ramos Martínez was offered an exhibition by William Alanson Bryan, Director of the Los Angeles County Museum of Art (LACMA) at Exposition Park. A number of subsequent exhibitions followed, with Martínez developing a strong following in the Hollywood community.
Alfredo Ramos Martínez died unexpectedly at the age of 73 on November 8, 1946 in Los Angeles. He was buried at Holy Cross Cemetery in Culver City, California. At the time of his death, Ramos Martínez was working on a series of murals entitled "The Flower Vendors" at Scripps College[ The unfinished murals have been preserved as a tribute to the artist