lunes, 31 de julio de 2017




Por siempre estaré en deuda con mi abuelo, aquel que me enseño las virtudes de una buena charla, una apasionada lectura, la historia, la literatura, la buena música, el arte sacro y profano. La Mitología Griega y la Mesoamericana

Así es que, espero que esta muestra y el programa de TV , refleje una semblanza de lo que vamos creando a través de cuatro generaciones de artistas en la Familia Cantú

Adolfo Cantú
Verano del 2017




jueves, 27 de julio de 2017

Grabación del programa Cantú X Cantú






Grabación del programa Cantú X Cantú
Para la televisión Educativa SEP

Verano del 2017-07-27

Colección de Arte Cantú Y de Teresa







Adolfo Cantú Elizarrarás, artista, pintor, escultor, músico, publicista, coleccionista de arte y conferencista. Nació el 8 septiembre de 1958 en la Ciudad de Monterrey, Nuevo León hijo de Federico Cantú Fabila y de Elsa Elizarrarás Beltrán. Es nieto y albacea de Federico Cantú Garza.

La convivencia con sus dos abuelos pintores Luz Fabila 1905-1984 y Federico Cantú 1907-1989 lo inclinaron dentro del camino de las Bellas Artes. A través de la línea materna desciende de la línea dinástica de Don Miguel Hidalgo y Costilla, estirpe de libres pensadores que le han heredado el espíritu libre.

Adolfo es un gran comunicador y experto en crear una nueva visión de la publicidad de México para el mundo. Ha fundado numerosas empresas, de producción para comerciales, castings, locaciones, escenografías, dirección de arte y producción para la publicidad. En cine ha trabajado con Pedro Torres.
Con su esposa María Elena de Teresa Pla ha creado la Colección de Arte Cantú y de Teresa que cuenta con Arte de la Escuela Mexicana de Pintura: Diego Rivera, Federico Cantú, Luz Fabila, Ortiz Monasterio, Gloria Calero, Guerrero Galván entre otros; Gráfica de Posada, del Taller de la Gráfica Popular. Su acervo cuenta con  piezas, de diferentes épocas, entre las que destacan Escuela Mexicana Virreinal, Grafica Italiana del siglo XVII, de la Escuela de París
 Entre los objetivos de la Fundación encontramos el fomento del conocimiento de las Escuelas de París, Nueva York y Mexicana de pintura. Entre sus contribuciones recientes está el rescate de la Carpeta Dorian, desaparecida por más de 80 años, una invaluable colección de dibujos y bocetos de su abuelo Federico Cantú que se mantuvo oculta, posiblemente en París. 

Adolfo Cantú, es el hilo conductor de esta exposición, es el albacea de su abuelo Federico Cantú Garza y a él se debe la difusión de la obra actualmente es el Vicepresidente de la Asociación de Maestros y Amigos del Salón de la Plástica Mexicana A.C.











Para la televisión Educativa SEP

Verano del 2017-07-27


Colección de Arte Cantú Y de Teresa

viernes, 21 de julio de 2017

Japanese Woodblock Print Book Cantú Y de Teresa Collection

https://japanesebook-cydt.blogspot.mx/2017/07/





Japanese printmaking, as with many other features of Japanese art, tended to organize itself into schools and movements. The most notable schools (see also schools of ukiyo-e artists) and, later, movements of moku-hanga were:


·       Torii school, from 1700
·       Kaigetsudō school, from 1700–14
·       Katsukawa school, from about 1720s, including the artists Shunsho and Shuntei
·       Kawamata school, from about 1725, including the artists Suzuki Harunobu and Koryusai
·       Hokusai school, from about 1786, including the artists Hokusai, Hokuei and Gakutei 
·       Kitagawa school, from about 1794, including the artists Utamaro I, Kikumaro I and II
·       Utagawa school, from 1842, including the artists Kunisada and Hiroshige
·       Sōsaku-hanga, "Creative Prints" movement, from 1904

·       Shin-hanga "New Prints" movement, from 1915, including Hasui Kawase and Hiroshi Yoshida 


The technique for printing texts and images was generally similar. The obvious differences were the volume produced when working with texts (many pages for a single work), and the complexity of multiple colors in some images. Images in books were almost always in monochrome (black ink only), and for a time art prints were likewise monochrome or done in only two or three colors.


The text or image was first drawn onto thin washi (Japanese paper), then glued face-down onto a plank of close-grained wood, usually cherry. An incision was made along both sides of each line or area. Wood was then chiseled away, based on the drawing outlines. The block was inked using a brush or brushes. A flat hand-held tool called a baren was used to press the paper against the inked woodblock to apply the ink to the paper. The traditional baren is made in three parts, it consists of an inner core made from bamboo leaves twisted into a rope of varying thicknesses, the nodules thus created are what ultimately applies the pressure to the print. This coil is contained in a disk called an "ategawa" made from layers of very thin paper which is glued together and wrapped in a dampened bamboo leaf, the ends of which are then tied to create a handle. Modern printmakers have adapted this tool, and today barens are made of aluminum with ball bearings to apply the pressure are used; as well as less expensive plastic versions. Although the first prints were simply one-color, with additional colors applied by hand, the development of two registration marks carved into the blocks called "kento" were added. The sheet of washi to be printed is placed in the kento, then lowered onto the woodblock. This was especially helpful with the introduction of multiple colors that had to be applied with precision over previous ink layers.
Woodblock printing, though more time-consuming and expensive than later methods, was far less so than the traditional method of writing out each copy of a book by hand; thus, Japan began to see something of literary mass production. While the Saga books were printed on expensive paper, and used various embellishments, being printed specifically for a small circle of literary connoisseurs, other printers in Kyoto quickly adapted the technique to producing cheaper books in large numbers, for more general consumption. The content of these books varied widely, including travel guides, advice manuals, kibyōshi (satirical novels), sharebon (books on urban culture), art books, and play scripts for the jōruri (puppet) theatre. Often, within a certain genre, such as the jōruri theatre scripts, a particular style of writing became standard for that genre. For example, one person's personal calligraphic style was adopted as the standard style for printing plays.