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

jueves, 1 de febrero de 2018

Y los bendijo Simeón, y dijo á su madre María: He aquí, éste es puesto para caída y para levantamiento de muchos en Israel;. (Lucas 2:34)

Presentación de Jesús en el Templo es la denominación convencional de un episodio evangélico y un tema iconográfico relativamente frecuente en el arte cristiano.
Se refiere a la presentación de Jesucristo por sus padres, en el Templo de Jerusalén. Está narrado por Lucas el Evangelista en el Nuevo Testamento (Lucas 2,22-40).
Tratamiento diferenciado, tanto en el arte como en el calendario litúrgico o santoral, tiene una escena previa: la Circuncisión de Jesús, operación ritual prescrita en la religión judía,1​ y que se le hizo a Jesús a los ocho días de nacer (se celebra el 1 de enero). La presentación tuvo lugar posteriormente cuando se cumplieron los días de la purificación.

La fiesta de la Presentación se celebra el día dos de febrero. Por asociación de actos y de simbolismos se celebra el mismo día la Purificación de la Virgen, llamada también fiesta de las Candelas o de la Virgen de Candelaria. La iglesia bizantina la convirtió en una fiesta solemne muy importante.

sábado, 27 de enero de 2018

Art Project Thanda
Mellan den 23 januari och 2 februari visas en internationell grupputställning, Art Project Thanda, på Nybrogatan 32. Verken som visas är till salu och alla intäkter går oavkortat till välgörenhetsorganisationen Star for Life. 
År 2016 tog konstnär Johan Falkman med sig 17 internationella konstnärer till Intibane, ett forsknings-camp, del av Dan Olofssons Safari Lodge, Thanda, i Sydafrika.Där fick de inspireras av den afrikanska kulturen, människorna, djurlivet och naturen. Arbetet presenteras nu i en stor grupputställning med måleri, skulptur och fotografi. Alla intäkter går till Christin och Dan Olofssons välgörenhetsorganisation Star for Life. Organisationen hjälper sydafrikanska ungdomar med utbildning och hälsa.
Medverkande: Pedro Diego Alvarado, Mexico City, Korakrit Arunanondchai, Thailand/ New York, Johan Falkman, Malmö, Agustin Gonzalez Garcia, Mexiko City, Elizabeth de Jesus, Mexiko City, Janeric Johansson, Malmö, Colette Lumiere, Berlin/ New York, Alfredo Nieto Martinez, Mexiko City, Andreas Olofsson, Malmö, Eric Perez, Mexiko City, Omar Rodriguez-Graham, Mexiko City, Emanuel Röhss, Los Angeles/ Stockholm, Leslie Sardinias, New York/ Havanna, Lucas Silvner, Malmö, Camilla Thulin, Stockholm, Ian Tong, New York, Ike Ude, New York, Ben Noam Wolf, Los Angeles.
Dessutom fotografiska arbeten av: Björn Persson, Christian Sperka, Nima Gassemlo och Anders Jorulf.
En unik donation av familjen Cantu, barnbarn till den Mexikanske nationalmålaren och muralisten, Federico Cantu (1907-1989), visas också.

Utställningen visas vardagar, kl 10-18, fram till den 2 februari - Stockholms Auktionsverk, Nybrogatan 32 Stockholm. 

miércoles, 10 de enero de 2018

Federico Heraclio Cantú Garza
El tríptico de Lord Byron 1928-1929
Colección de Arte Cantú Y de Teresa

Estos tres liensos pintados por Federico Cantú entre los años de 1928 y 1929
Son piezas emblemáticas dentro de la larga carrera pictórica del artista
Si bien su iconografía es de corte sacro y mitológico 
Las obras están vinculadas dentro de una historia en común:
La primer retrospectiva que tuviera de Federico Cantú en su paso por Los Ángeles California 1928-1929

Exposición Park 1929 Federico Cantú

En un breve respiro tomado por Federico Cantú dentro de su larga estancia en Paris 
en el verano de 1928, por fin el joven artista ve la posibilitada de exponer en Los Ángeles California , esta retrospectiva que anticipaba la muestra del entonces ya consagrado José Clemente Orozco en el mismo lugar, mostraría la visión de un artista mexicano recién llegado de Paris.

Ayudado por la critica de Arthur Miller, Edward Doro y José Vasconcelos desde entonces el joven pintor daría mucho de que hablar con sus temas universales. 
La retrospectiva mostraba un centenar de pinturas, esculturas, dibujos y grabados con temas como “Arlequín”, “Los Novios”, “Escenas de celos” , “Centauros” y El Tríptico de Lord Byron ( Madona, Homenaje s Lord Byron, Descanso en la huida a Egipto )

En 1930 Federico Cantú regresaría a Paris donde trabajaría por cuatro años mas para regresar a Mexico en 1934y pintar junto con Roberto Montenegro la obra del Bar Papillon y así iniciar una larga carrera de pintura mural y arte monumental.
Ya encumbrado con la fama lograda en las exposiciones del MOAM, Metropolitan Museum , Philadelphia Museum , Art Club of Chicago, Palacio de las Bellas Artes y un sin numero de muestras mas surge la obsesión de localizar la obra temprana y ayudado por el Doc. McKinley Helm, localiza y recupera en 1950 de la Colección Betty Bher los tres lienzos que Decide bautizar en grupo como “El tríptico de Lord Byron”

Hoy en dia ambas tres obras viajan a destiempo en diferentes exposiciones, sin embargo las tres seguirán juntas formando parte medular de la obra de Federico Cantú dentro de la Colección CYDT

Adolfo Cantú
©Federico Cantú 1989-2018

Federico Cantú
Aniversario Luctuoso
29 de Enero 2018

Cadereyta de Jiménez 1907

Ciudad de Mexico 1989

jueves, 16 de noviembre de 2017

Federico Cantú y el IMSS
Documentos- Fotografías – Proyectos murales – Esculturas- Grabados
Desarrollo Cultural IMSS & Colección de Arte Cantú Y de Teresa
Diciembre 2017

Paseo de la Reforma 476
Ciudad de México

Federico Cantú and the IMSS
Documents - Photographs - Wall projects - Sculptures - Engravings
IMSS Cultural Development & Cantu & Teresa's Art Collection
December 2017

Paseo de la Reforma 476
Mexico City

domingo, 12 de noviembre de 2017

Erotic art is nothing less than the history of human desire in all its manifestations. The enraptured passion for the forbidden fruit finds free expression in the erotized drawings found throughout hundreds of works conceived by Federico Cantú.