Between 1927–1934 Orozco lived in the USA. Even after the fall of the stock market in 1929, his works were still in demand. From March to June 1930, at the invitation of the Pomona College Art Department, he painted what he noted was the "first fresco painted outside the country by a painter of the Contemporary Mexican School."The fresco, Prometheus (Prometeo del Pomona College), on the wall of a Pomona College dining hall, was direct and personal at a time when murals were expected to be decorous and decorative, and has been called the first "modern" fresco in the United States.[8] Later that year, he painted murals at the New School for Social Research, New York City, now known as the New School University. One of his most famous murals is The Epic of American Civilization at Dartmouth College, New Hampshire, USA. It was painted between 1932 and 1934 and covers almost 300 m² (3200 square feet) in 24 panels. Its parts include: "Migrations", "Human Sacrifices", "The Appearance of Quetzalcoatl", "Corn Culture", "Anglo-America", "Hispano-America", "Science" and "Modern Migration of the Spirit" (another version of "Christ Destroys His Cross").
After returning to Mexico in 1935, Orozco painted in Guadalajara, Jalisco, the mural "The People and Its Leaders" in the Government Palace, and the frescos for the Hospicio Cabañas, which are considered his masterpiece. In 1940 he painted at the Gabino Ortiz Library in Jiquilpan, Michoacán. Between 1942–1944 Orozco painted for the Hospital de Jesús in Mexico City. Orozco's 1948 "Juárez Reborn" huge portrait-mural was one of his last works.

In 1947, Orozco illustrated the book The Pearl, by John Steinbeck.

Orozco died in 1949 in Mexico City.

Our Art collection Cantú Y de Teresa includes historical documents, books and photographs that describe one of the most important episodes in the history of art

The Mexican Revolution (Spanish: Revolución mexicana), also known as the Mexican Civil War (Spanish: guerra civil mexicana), was a major armed struggle, lasting roughly from 1910 to 1920, that radically transformed Mexican culture and government. Although recent research has focused on local and regional aspects of the Revolution, it was a genuinely national revolution. Its outbreak in 1910 resulted from the failure of the 35-year-long regime of Porfirio Díaz to find a managed solution to the presidential succession. This meant there was a political crisis among competing elites and the opportunity for agrarian insurrection. Wealthy landowner Francisco I. Madero challenged Díaz in the 1910 presidential election, and following the rigged results, revolted under the Plan of San Luis Potosí.[6] Armed conflict ousted Díaz from power; a new election was held in 1911, bringing Madero to the presidency.

The origins of the conflict were broadly based in opposition to the Díaz regime, with the 1910 election becoming the catalyst for the outbreak of political rebellion. The revolution was begun by elements of the Mexican elite hostile to Díaz, led by Madero and Pancho Villa; it expanded to the middle class, the peasantry in some regions, and organized labor. In October 1911, Madero was overwhelmingly elected in a free and fair election. Opposition to his regime then grew from both the conservatives, who saw him as too weak and too liberal, and from former revolutionary fighters and the dispossessed, who saw him as too conservative.

Madero and his vice president Pino Suárez were forced to resign in February 1913, and were assassinated. The counter-revolutionary regime of General Victoriano Huerta came to power, backed by business interests and other supporters of the old order. Huerta remained in power from February 1913 until July 1914, when he was forced out by a coalition of different regional revolutionary forces. When the revolutionaries' attempt to reach political agreement failed, Mexico plunged into a civil war (1914–1915). The Constitutionalist faction under wealthy landowner Venustiano Carranza emerged as the victor in 1915, defeating the revolutionary forces of former Constitutionalist Pancho Villa and forcing revolutionary leader Emiliano Zapata back to guerrilla warfare. Zapata was assassinated in 1919 by agents of President Carranza.

Federico Cantú & Luis Ortiz Monasterio

En 1928 dos jóvenes artistas se instalaron en Los Ángeles California , la idea de triunfar en un foro internacional parecía rezón de sobra para tan prometedora carrera , si bien el inicio no fue nada fácil, el 29 fue poco mas que fatal  al grado de que  para 1930 Monasterio ya radicaba en México y Cantú regresaba ha re hacer su Atelier en Paris.  

Decía Cantú - vivíamos ese tiempo con mucha pasión pero la verdad es que éramos todos aspirantes a morirnos de hambre, 

Llegue a Francia a los 16 años,de chico es cuando uno cree más en las metas – recuerdo que fueron muy gentiles conmigo los viejos, me enseñaron además de las mañas de andar tras las viejas y el alcohol , mucho del criterio de ellos. amigos como José Decrefft , Mateo  Hernández , Ginés Parra y por supuesto Don Alfonso Reyes.

El cual  me decía , “la única manera de ser provechosamente nacional consiste en ser generosamente universal” y agregaba “pues nunca la parte se entendió sin el todo”.

En 1937 Federico Cantú insistiría en la idea de triunfo y ahora instalaba su Atelier en NY , esta vez  Monasterio no se apunto, pero Federico lo recuerda en una de sus cartas 

“Ya le dije a Monasterio que aquí en Nueva York él también puede triunfar”

a mediados de los 40 s  ya en México ambos amigos trabajaban la monumentalidad, 

Monasterio gano un proyecto para construir el “Monumento a la Madre” y Cantú trabajaba en los murales de Pinacoteca Virreinal .

En diferentes ocasiones nuestra colección ha colaborado en la recuperación de ambas obras murales y he ahí la importancia de preservar la memoria histórica de nuestro Arte.

Para la Colección de Arte Cantú Y de Teresa es un honor el poder compartir el acerbo que comprende ; Esculturas , proyectos murales, estarcidos , documentos , fotografías y lo mas importante, el deseo de preservar la obra de la Escuela Mexicana del siglo XX .

Bo

Colección de Arte Cantú Y de Teresa

Born in the central Mexican city of Guanajuato in 1886, Diego Riverawent on to become one of the great Modernists of 20th-century art, as well as, arguably, the most important painter in his nation’s history.

Best-known for his murals on public buildings in Mexico and the United States, Rivera also made a number of easel paintings, watercolours and drawings. ‘Above all, he was a magnificent storyteller,’ says Virgilio Garza, Head of Latin American Artat Christie’s. ‘Rivera could tell tales on both an epic scale and a small, intimate one’.

In May 2018, his painting The Rivals  realised $9,762,500 in The Collection of David and Peggy Rockefeller sale, setting a world-record price at auction for not just Rivera but any Latin American artist.

Rivera’s early career and Cubism

A child prodigy, he started drawing at three. By the age of 10, Rivera was enrolled full-time at the San Carlos Academy of Fine Arts, in Mexico City. In 1907, he moved to Europe, settling first in Spain and then Paris. His work from this period reveals the influence of a wealth of European masters: from El Greco to Cézanne.

A friend and rival of Picasso’s, Rivera made his name as part of the Cubist movement. One of his main works in this style was 1915’s Zapatista Landscape, which today forms part of the collection of the Museo Nacional de Arte in Mexico City.

When did Rivera start painting murals?

Rivera returned to his homeland in the early 1920s, shortly after the Mexican Revolution concluded. The artist was one of the revolution’s greatest champions, helping to spread the message of a new Mexico by painting vast, state-sponsored murals — on buildings such as the National Palace and the Secretariat of Public Education in Mexico City. Here he connected the country’s revolutionary present to a heroic, ancient past.

‘Gone was the doubt which had tormented me in Europe,’ said Rivera, later in life. ‘I now painted as naturally as I breathed, spoke, or perspired’.

Federico Cantú 1907-1989

CYDT Colección de Arte

Exposición colectiva La infancia en el arte.

jueves 8 de noviembre 19:30  

próximo jueves 8 de noviembre en punto de las 19:30 h en el Salón de la Plástica Mexicana, Colima 196, col. Roma para la inauguración de la muestra, exposición colectiva La infancia en el arte.

Mediante una selección de obras de los Maestros fundadores del Salón  , esta muestra acerca al publico al inicio de la producción pictórica de los artistas que formaran parte de la Escuela Mexicana 

Telar – Federico Cantú 1907-1989

Tinta para la ilustración del libro dedicado a la vida del Pípila , escrito por el Doctor MacKinley Helm

Esta obra nos permite, admirar la capacidad creadora del artista , donde en su narrativa enmarca al el “Pípila” como ayudante de telar en sus andanzas de niño inquieto , dentro de una intemporalidad Federico nos adentra a el detalle arquitectónico , mostrándonos a manera de nicho, una escena de nuestra rica mexicanidad 

La Colección de Arte Cantu y de Teresa , se suma a el esfuerzo de nuestra nueva Secretaria de Cultura por dejar ésta y muchas grandes exposiciones, como primer paso para la nueva administración