URUYAMA MOROSHIGE (ACT. C. 1678-1698)

Koshoku Edo murasaki (The sensual violets of Edo)

Woodblock-printed illustrated book; ink on paper, 5 vols with yellow paper cover bound as one book, sigend Furuyama Moroshige, published eighth month 1686
Fukurotojibon (puch binding) hanshibon: 9 x 6 in. (22.9 x 15.2 cm.)

$6,000-8,000

Furuyama Moroshige is one of the best pupils of Hishikawa Moronobu (1630/31?-1694

KITAGAWA UTAMARO (1754-1806)

Kushi (Comb)

Woodblock print, from the series Meisho koshikake hakkei (Eight views of tea stalls in famous places), signed Utamaro hitsu, published by Ezakiya Kichibei
Vertical oban: 14¬ x 9æ in. (37.1 x 24.8 cm.)

$35,000-40,000

113

ICHIRAKUTEI EISUI (ACT. C. 1790-1823)

Matsubaya nai Yoyoharu (Yoyoharu of the House of Matsubaya)

Woodblock print, signed Eisui ga
Vertical oban: 15¿ x 9√ in. (38.4 x 25.1 cm.)

$20,000-30,000

Hawk Hunting

Signed Zokusei Nakajima Tetsuzo Fujiwara Iitsu hitsu (Secular name Nakajima Tetsuzo, painted by Fujiwara Iitsu), sealed Manji rojin and Katsushika Hokusai
Hanging scroll; ink and color on paper
35æ x 59 in. (90.8 x 149.9 cm.)
With a wood box dated 6 June 1994, titled and authenticated by Narazaki Muneshige (1904-2001)

$40,000-60,000

Since the Muromachi period (1392-1573), hawking was taken over largely by the warrior elite, who saw the bird of prey as
a symbol of their own bravery and might. So potent was this symbol that the shogun Tokugawa Ieyasu (1542–1616) banned trade in hawks in 1604 to emphasize his own hegemony. Imagery of hawks in their wild habitat, in cages or tethered to stands is prevalent on hanging scrolls, screens and sliding doors commissioned by the samurai elite.

KITAGAWA UTAMARO (1754-1806)

Momo chidori kyoka awase (Myraid birds: a kyoka poem competition)

Woodblock-printed illustrated book; 2 vols with navy paper covers and yellow title slips, published by Tsutaya Juzaburo, circa 1790Obon: 10 x 7¡ in. (25.4 x 18.7 cm.) each approx. (2)

$30,000-40,000

 

HOKUSAI’S GREAT WAVE Dr. Matthi Forrer

Fig. 2. Utagawa Kuniyoshi (1797-1861). Monk Nichiren Calming the Stormy Sea. Japan. Edo period, c. 1835. The Metropolitan Museum of Art, New York, Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939, JP2860

Although many people in this world are familiar with ‘The Great Wave’ in either the original or whatever adaptation, reworked or even in some reconfigured form, few people are aware that this
was originally a work by the Japanese artist Katsushika Hokusai (1760-1849) in the format of a woodblock print with the modest measurements of circa 265 x 390 millimeters. Yet, this absolutely iconic image continues to inspire artists and designers all over the world, and now lends itself to shirts, sweaters, scarfs, shoes, bags, drinking cups, watch dials, wallpaper and much more, and even, quite disrespectfully, floor carpets. And whereas Vermeer’s Girl with a Pearl Earring yields 1.450.000 hits in Google, and Van Gogh’sSunflowers 5.530.000, Picasso’s Guernica 12.500.000, and Snoopy 73.700.000, the Mona Lisa beats them all with 129.000.000 hits, but still, the Great Wave will forever, I would say, be unbeatable with its 1.040.000.000 hits.

In his design, Hokusai captures a mere second in the life of a wave with the eternal Mount Fuji seen almost literally in the hollow
of it on the horizon, as is also corroborated in the print’s title In the Hollow of a Wave off Kanagawa, Kanagawa oki namiura. We can read the force of the wave speaking from its bands in two shades of blue, its crest ending in numerous claws set off against a light blue. Amidst the waves are three so-called oshiokuri boats on their

way to the Izu Peninsula and Awa Province, now Chiba Prefecture, to collect their cargo of fish and vegetables destined for Edo.
Like most human figures in the series of Fuji prints, the oarsmen, obsessed with haste, have no attention for Mount Fuji in the distance – and maybe not even for the waves?

In well-preserved early impressions, as the one offered here, we even see a pink cloud in the sky. There are also no signs of breaks in the title cartouche that we tend to see in most copies of this print. Indeed, it ranks beyond doubt among the twenty or so best impressions surviving today. As for its pedigree, the print came
to the present owner’s ancestors in the early 1900s and was most recently on public display in an exhibition at the Ny Carlsberg Glyptotek (New Carlsberg Glypthoteque), Copenhagen, organized by the Denmark-Japan Society in 1993. It was there one of the highlights among no less than 18 prints from the series of Thirty-six Views of Mount Fuji selected from various both private and public Danish collections of mostly surprisingly good quality.

In the following I intend to address both the historical background of the image and what makes it such an iconic image, obviously speaking to a worldwide audience – but also including a Japanese audience? Anyway, most of the adapted and reworked Waves are

an obvious proof of a Western embrace, but was there also some esteem in Japan? We actually know of just one obvious almost contemporary Japanese adaptation, a small format print in black and white, issued on the occasion of a severe rainstorm and floods of melting snow following some tremors, coming down from Mount Fuji in the fourth month of 1834, resulting in quite some deaths. This is an illegal broadsheet, a so-called kawaraban, as it was in the Edo Period prohibited to report on current events such as, for example, earthquakes, volcanic eruptions, floodings, famines and epidemic diseases. The obvious amateur designer depicts the mountain full size to the right with Hokusai’s wave in reverse

in the foreground, heavy rain falling, and many people being swallowed in the waters. Titled Water Flooding from Mount Fuji,Fujisan shussui no zu (Fig. 1), the explanatory text also indicates the date of the disaster taking place ‘from the evening of the seventh day of the fourth month of TenpL· 5 (15 May 1834), Year of the Horse,’ no mistake there. Also following the recent tsunami hitting the northern coast of Japan in 2011, Hokusai’s design was cited regularly in reports. But both are very different from what Hokusai intended, we are naturally surrounded by nature and Mount Fuji is there, and we can simply live here peacefully. In Hokusai’s prints, nature is never a threat or posing any danger. There cannot be any doubt if the boats will make it to their destination.

Even earlier, in a diptych composition by ShunkL·sai Hokuei after
a kabuki play performed in IX/1833 at the Naka theatre in Osaka, the actor Arashi Rikan II is seen against a sea of clearly Hokusai- inspired waves. Hokusai’s Wave as a model for the backdrop of
a print by Kitagawa Toyohide after a kabuki play performed in IX/1841 at the Kado theatre in Osaka is even more obvious. Hokusai-inspired waves are even to be seen as late as V/1850
in a diptych composition by Osaka artist Hirosada. As for more examples of contemporary influence from Hokusai’s Wave, that
is with the claw-like foamy crests atop of the wave, it just suffices to look into prints by Utagawa Kuniyoshi (1798-1861), such as Nichiren calming the waves (Fig. 2), and especially also in several of his triptych compositions, and prints by Utagawa Hiroshige (1797- 1858) as we shall see later on (Fig. 3).

As for the direct background of both the print of the Wave and the series of prints of Thirty-six Views of Mount Fuji, Fugaku sanjL·rokkeiof which it forms part, we must probably see this as a way to
make some direct money after a difficult period in the artist’s life. Hokusai was then probably living with his daughter Oei as his wife had died in the sixth month of 1828, which put a rather abrupt end to his regular attending senryL· meetings, that is comical 17-syllabary poems where he obviously found an outlet for his troubles, notonly taking care of his wife, but also having to pay the debts resulting from his grandson’s gambling. As we understand from

the letter that he wrote on the 28th day of the first month of 1830 to his publishers Hanabusaya Heikichi and Hanabusaya BunzL·, we understand his situation: ‘/.../ this New Year, I have not a penny to spend, no clothes to put on, nor anything to eat /.../ having lost a full year thanks to my willful grandson.’ Badly in need of money, he asks them to already pay him for the illustrations of two volumes of the Shinpen Suikogaden novel that he completed and asks to send him the remaining volumes of Part 2B – Part 2A had been published in the first month of 1829. And he asks for a piece of silk so he can work on a commissioned painting.

Maybe not even awaiting their reaction, Hokusai seems to have also contacted the publisher Nishimuraya Yohachi, discussing with him an old idea that came up when he was working on his model book for lacquerers, Modern Patterns for Combs and Pipes, ImayL· kushi kiseru hinagata published in 1823, where he kind of incidentally included eight comb designs that included Mount Fuji. These would in turn inspire him to plan a series of prints titled Eight Fujis, Fugaku hattai, that was duly announced as ‘the wonders of nature, landscapes as they conform to the four seasons, in clear weather, rain, wind, snow, and in misty skies.’ But now, some seven years later, he imagined that he could as well embark on a much larger project, a series of prints of Thirty-six Views of Mount Fuji, Fugaku sanjL·rokkei. Surprisingly, Nishimuraya agrees, and the first ten designs of the series come out in 1830 in the then still quite exceptional and untested įban format for landscape prints, among them the print

Fig. 4. Katsushika Hokusai (1760-1849). Hundred Views in the Eastern Capital, Tōto hyakkei. 1830

officially titled In the Hollow of a Wave off Kanagawa, or also Under the Wave off Kanagawa. All of these ten prints, among them also those of South Wind at Clear Dawn, GaifL· kaisei and Shower below the Summit, Sanka hakuu, as two other masterpieces in the series, are signed ‘Hokusai changing to Iitsu,’ Hokusai aratame Iitsu, a signature that we also find in a large surimono print portraying Yoshimura IsaburL· III as a salt-gatherer with a pair of buckets on a yoke, dated to the third month of 1830.

Sometime in the Autumn of 1830, the publisher Enshŗya Matabei commissions from Hokusai the designs of a number of small envelopes. Though published under the general title of Hundred Views in the Eastern Capital, Tįto hyakkei (Fig. 4), we can presently only identify nine of them, all signed ‘Hokusai changing to Iitsu,’Hokusai aratame Iitsu, as in the surimono print mentioned above, and in the first ten designs in the Fuji series. Quite remarkably, these envelopes are printed in tones of blue, apparently Hokusai’s first group of prints in this novel technique known as aizurie. It must have been these very small designs, measuring 191 x 51 mm, that inspired Hokusai to ask Nishimuraya to execute also the remainder of the Fuji series as prints in blue. Nishimuraya agrees and when he is completing the next instalment of the Ryŗtei Tanehiko novelShįhon jitate, Part 12, in the ninth or tenth month of 1830 so it could be launched in the first month of 1831, he duly announces: ‘The Thirty-six Views of Mount Fuji, by the Old Iitsu, formerly known as Hokusai: Single sheet prints in blues, each featuring one view and to be issued successively. These prints show how the shape of Mount Fuji differs when seen from various locations such as from the coast of Shichirigahama,

Fig. 5. Henri Riviere (1864-1951). Les trente-six vues de la Tour Ei el. France. 19th century. Christie’s Paris, 15 November 2018, lot 63

or more distantly from the Island of Tsukudajima, and so on. On the whole they are of use to those wishing to learn and paint remarkable landscapes. The blocks being cut and printed successively, they may well amount to more than a hundred, and so not be restricted to thirty-six plates only.’

The next batch of ten prints issued in 1831 is, indeed, executed in tones of blue only, and they all have the signature ‘Iitsu, formerly Hokusai,’ saki no Hokusai Iitsu just like a group of ten small kobanformat prints also in blues, of fish, of birds, and a man washing potatoes, signed by Hokusai aged 72, that is 1831.

We don’t know when the first impressions of The Wave came to Europe. Certainly, Edmond de Goncourt knew the print, writing in 1896 that ‘the crest of the wave is torn apart and dispersed in a rainfall of drops in the shape of animal claws,’ and in September 1888, it also comes to the mind of Van Gogh in some observation on the colours blue and green, when he writes in one of his letters that ‘as you [Vincent’s brother Theo] say in your letter: these waves are claws and we feel that the boats are caught in them.’ We know that Claude Monet owned a copy of the print, as well as Henri Rivière did, who in 1902 even made a set of colour-lithographs titled Thirty-six Views of the Eiffel Tower (Fig. 5). And Debussy’s three symphonic sketches under the title of La mer of 1905 (Fig.

6) is also inspired by Hokusai’s print of the Wave. Interestingly, especially in view of the pedigree of the print introduced here, there is a design datable to 1885 by Arnold Krog, the artistic director of the Royal Copenhagen factory, of a porcelain saucer with swans

122

KATSUSHIKA HOKUSAI (1760-1849)

Kanagawa oki nami ura (Under the well of the Great Wave o Kanagawa) [“Great Wave”]

Woodblock print, from the series Fugaku sanjurokkei(Thirty-six views of Mount Fuji), signed Hokusai aratame Iitsu hitsu, published by Nishimuraya Yohachi (Eijudo)

Horizontal oban: 9√ x 14¬ in. (25.1 x 37.1 cm.) $500,000-700,000

PROVENANCE:

Acquired by the family of the current owner in the early 1900s; thence by descent

EXHIBITED:

"Ukiyo-e: japanske farvetraesnit bloktrykte boger og album surimono fra danske samlinger", Ny Carlsberg glyptotek, Copenhagen, 2 June-31 Aug, 1993

LITERATURE:

Ukiyo-e: japanske farvetraesnit bloktrykte boger og album surimono fra danske samlinger (Denmark: Ny Carlsberg glyptotek, 1993). cat.no.8.

 

 

Por aquel tiempo se celebraba una boda en Caná de Galilea, cerca de Nazaret, y estaba allí la madre de Jesús. Fue invitado también a la boda Jesús con sus discípulos. Y, como faltara el vino, le dice su madre a Jesús: «No tienen vino». Jesús le responde: «Mujer, ¿qué nos va a mí y a ti? Todavía no ha llegado mi hora». Dice su madre a los sirvientes: «Haced lo que él os diga».

Había allí seis tinajas de piedra, puestas para las purificaciones de los judíos, de unos cien litros cada una. Les dice Jesús: «Llenad las tinajas de agua». Y las llenaron hasta arriba. «Sacadlo ahora, les dice, y llevadlo al maestresala». Ellos se lo llevaron. Cuando el maestresala probó el agua convertida en vino, como ignoraba de dónde venía (los sirvientes, que habían sacado el agua, sí lo sabían), llama al novio y le dice: «Todos sirven primero el vino bueno y cuando ya todos están bebidos, el inferior. Pero tú has guardado el vino bueno hasta ahora».

Así, en Caná de Galilea, dio Jesús comienzo a sus signos. Y manifestó su gloria, y creyeron en él sus discípulos. Después bajó a Cafarnaúm con su madre, sus hermanos y sus discípulos, pero no se quedaron allí muchos días. Se acercaba la Pascua de los judíos y Jesús subió a Jerusalén

  El 3 de Marzo de 1907 nacía en Cadereyta de Jiménez Nuevo León Federico Cantú, uno de los Maestros más importantes de la Escuela Mexicana del Siglo XX, hoy lo recordamos con el tema de Leda.

 

EL arte erótico no es nada menos que la historia del deseo humano en todas sus manifestaciones 

Está extasiada pasión sexual, se siente libre en la expresión sexual dibujada a lo largo de centenares de obras concebidas por Federico Cantú.

 ¿Qué es el deseo de hacer arte, si no el deseo de expresar el anhelo de una pasión alcanzada en la vida, esa  sexualidad humana , tierna, lúdica y apasionada brutalmente, desgarradora y transgresora.

 

Cuanto mayor es la descripción implícita entre el creador y el coleccionista , estará más cercano de un ménage a trois, en el que , el espectador, se convertirá en  la tercera parte del triángulo amoroso con una mirada intrusiva. 

 

Dentro de un laberinto mitológico Federico llega al tema de Leda y el Cisne  a finales de los 40s cuando esta trabajando la obra mural de la Caída de Troya , mas tarde decidirá llevar el tema al lienzo , acuarela y por supuesto a la escultura .

Leda y el Cisne es un motivo de la mitología griega, según el cual Zeus descendió del Olimpo en forma de un cisne hacia Leda, mientras esta doncella caminaba junto al río Eurotas. De acuerdo con la mitología griega, más tarde Leda dio a luz a dos parejas de hijos: por un lado, a Helena y a Pólux, que serían hijos de Zeus y, por lo tanto, inmortales; y, por otra parte, a Clitemnestra y a Cástor, considerados hijos de Tíndaro, rey de Esparta, y en consecuencia, mortales. Según la historia, Zeus tomó la forma de un cisne y violó o sedujo a Leda en la misma noche en que ella se había acostado con su esposo.

 

 

 

Bo

  Federico Cantú  &  Gloria Calero          Febrero  mes del amor y la amistad

Federico Y Gloria se conocieron a finales de 1935 y se relacionaron intensamente desde el inicio del año 36  en la época que llegaba de Francia Antonin Artaud para instalarse en el Atelier de Federico en la ciudad de México,  es tambien la época de  la GAM , donde Federico presentaba parte de su obra Picassiana   “ recién desempacado de Francia –como decía Inés Amor “ , en ese momento se publicaba en diferentes periódicos alguna nota de arte una de ellas de Chano Urueta que estaba casado con su prima- Gloria Calero Sierra: Mi papá contaba como un dia llego el abuelo todo golpeado despues de una disputa con Chano por un fuerte lio de faldas!, todo esto termino en divorcio fast track  dando cabida a un nuevo matrimonio que duraría mas de medio siglo.

 

New York      Marzo 2 de 1939

 

Queridísima Gloria no sabes con que tristeza leí tu carta que me llego ayer  por la mañana (1 de marzo 1939)  durante todo el dia estuve triste y luego por la noche no pude dormir pensando en nuestra vida. Recordé todo y no deje un solo detalle fuera de nuestro primer beso , de las noches satánicas y repugnantes que siguieron a tu invitación de suicidio. Ahí todos estábamos muy mal, tres personas dignas de una película de Jorge Miranda o de el mismo Chano a quien en esa ocasión le toco ser actor.

Despues recordé con dulzura nuestros días miserables que casi comíamos amor, se me llenaban de lagrimas los ojos, viendo otra vez tu retrato con la blusa blanca , es lo mas malo que he pintado pero no me atrevo a destruirlo, por en cambio lo miro y un montón de recuerdos me atropellan la memoria…….Federico

 

En la composición fotografía  que vemos  recrea una semblanza sumamente interesante ; primeramente por los dos oleos pintados por Federico en 1936 y adquiridos por MacKinley Helm y su esposa Frances Lathrop Hammond , mismo que hoy se encuentra dentro de la Colección del Museo de Santa Bárbara en California . Al centro vemos a las dos parejas fotografiadas en el jardín la casa de San Miguel Allende en 1943

 

 

Bo

Febrero 2023 

Archivo documental Cantú Y de Teresa

 

 

MacKinley Helm (born 1896; died 1963) was an American writer and collector.

Books:5

 

 

·      1936: After Pentecost: a history of Christian ideas and institutions from Peter and Paul to Ignatius of Antioch. New York: Harper

·      1941: Modern Mexican Painters. New York: Harper

·      1942: Angel Mo' and her son, Roland Hayes. Boston: Little, Brown

• 1943: Story of Pipila

·      1946: A Matter of Love, and other baroque tales of the provinces. New York: Harper

·      1948: John Marin. Boston: Pellegrini & Cudahy (reissued: New York: Kennedy; Da Capo Press, 1970)

·      1948: Journeying through Mexico. Boston: Little, Brown

·      1949: A Month of Sundays, and other baroque tales of the provinces. London: Harvill Press

·      1953: Spring in Spain. London: Gollancz

·      1953: Man of Fire; J. C. Orozco: an interpretative memoir. Boston: Institute of Contemporary Art

·      1956: Fray Junipero Serra: the great walker. Stanford, Calif.: Stanford University Press (play)

 

 Frances Lathrop Hammond Helm  18 Abr 1894- 13 Ene 1973 (de 78 años de edad)

Helm married Frances Lathrop Hammond (1894–1973)

Federico Cantú met Dr Helm in New York during the period of the late 1930s,

From there began a Friendship of a lifetime, the correspondence and the experiences that both friends lived are reflected throughout a series of letters that Frederick treasured and that today remains within the CYDT art collection

Mrs. Hammond

Children: 
Francis Hammond; Gardiner Greene Hammond, III; George Fiske Hammond; Elizabeth Crowninshield Hammond; Esther Beebe Hammond; Mary C Hammond

Daughter of George Jenckes Fiske and
Frances Lathrop "Fannie" Beebe

Marriage
To Gardiner Greene Hammond, Jr.
On 8 Jun 1893 at Falmouth, Massachusetts St Barnabas Church

After summering in Santa Barbara for several years, Esther chose to make it her primary home. She and her children occupied the Montecito beachfront estate "Bonnymede" from 1910 to 1955, first renting, then buying in 1912. Within the next few years she had purchased all of the property that is bordered by the 101 freeway and the Pacific Ocean, Olive Mill Road and Eucalyptus Lane. 

Known as a sportswoman, Esther enjoyed ocean swims of several miles well into her seventies. The popular surfing spot "Hammonds" Reef & Beach was named for Esther & her family.

Although immensely wealthy, Mrs. Hammond felt it important to teach her six children the importance of industry and hard work. She started local family enterprises, such as the Bluebird Garage and Taxi Service and the Bluebird Ranch, where they drove taxis, learned auto repair, grew flowers for charity, raised vegetables, dairy cows, chickens, and provided work for returning World War I veterans.

Esther and her husband Gardiner were among the most respected of Boston's wealthy society. Family portraits of the couple and their children were painted by famous artists such as Mary Cassatt and John Singer Sargent. Gardiner died in 1921 of cancer at age 61 in New York City. He had remarried in 1917 and made his primary residence at Martha's Vineyard..

 

A Gardiner Greene Hammond, Jr.

El 8 de junio de 1893 en Falmouth, Massachusetts Iglesia de San Bernabé

 

Después de pasar el verano en Santa Bárbara durante varios años, Esther decidió convertirla en su hogar principal. Ella y sus hijos ocuparon la finca frente al mar de Montecito "Bonnymede" de 1910 a 1955, primero alquilando y luego comprando en 1912. En los años siguientes había comprado toda la propiedad que limita con la autopista 101 y el Océano Pacífico, Olive Mill Road y Eucalyptus Lane.

 

Conocida como deportista, Esther disfrutó nadando en el océano de varias millas hasta los setenta años. El popular lugar de surf "Hammonds" Reef & Beach fue nombrado por Esther y su familia.

 

Aunque inmensamente rica, la Sra. Hammond sintió que era importante enseñarle a sus seis hijos la importancia de la industria y el trabajo duro. Comenzó empresas familiares locales, como el Servicio de Taxi y Garaje Bluebird y el Rancho Bluebird, donde manejaban taxis, aprendían reparación de automóviles, cultivaban flores para caridad, criaban vegetales, vacas lecheras, pollos y proporcionaban trabajo para los veteranos que regresaban de la Primera Guerra Mundial. .

 

Esther y su esposo Gardiner estaban entre los más respetados de la rica sociedad de Boston. Los retratos familiares de la pareja y sus hijos fueron pintados por artistas famosos como Mary Cassatt y John Singer Sargent. Gardiner murió en 1921 de cáncer a los 61 años en la ciudad de Nueva York. Se había vuelto a casar en 1917 e hizo su residencia principal en Martha's Vineyard.

 

 

 

 

Mackinley Helm 4 Jul 1896-7 Abr 1963 (de 66 años de edad)

Michigan, USA

En este ensayo, el crítico y coleccionista norteamericano MacKinley Helm analiza la obra pictórica de aquellos artistas cuyo estilo y temática no se inscribían dentro de los postulados del muralismo ni tampoco de la llamada “Escuela Mexicana de Pintura”. Helm discute, en el contexto de las décadas de veinte y treinta, la evolución de Rufino Tamayo, Frida Kahlo, María Izquierdo, Antonio Ruiz y Francisco Goitia. El autor destaca el carácter original de ese tipo de pintura y refuta el que estos artistas hayan sido juzgados como “no-mexicanos”, cuando las imágenes que producían indicaban lo contrario.

 

Escrito en 1941, el libro de MacKinley Helm (1896) tornó accesible a un público más amplio el movimiento muralista mexicano y los artistas que estuvieron activos entre los años veinte y treinta. Siendo coleccionista y crítico, Helm siguió los pasos de sus artistas favoritos. Tal fue el caso de David Alfaro Siqueiros (1896-1974); una obra del cual ilustra la portada del libro que motivó el viaje de Helm a en México. Éste tuvo dos objetivos básicos: por un lado, llevar a cabo la investigación en torno al libro y, por el otro, terminar el proyecto curatorial que haría de la obra de Siqueiros para la Galería Pierre Matisse, en Nueva York. Se trata de uno de los primeros libros escritos en inglés sobre el movimiento mexicano y apareció un año después de la gran exposición mexicana en el Museo de de Arte Moderno de Nueva York llamada Veinte siglos de arte mexicano. El capítulo del libro que aquí se reproduce da cuenta de la obra de Rufino Tamayo (1899-1991) ya contrapuesta con la de Diego Rivera (1886-1957), y de María Izquierdo (1902-55).  Una edición reciente de este libro fue publicada en 1989 por la editorial Dover, bajo el título de Modern Mexican Painters: Rivera, Orozco, Siqueiros and other Artists of the Social Realist School.

Adolfo Cantu

CYDTCollection

  Aniversario Luctuoso XXXIV

Federico Cantú Garza - Enero 29

Relieve Monumental IMSS

Enseñanzas de Quetzalcóatl

Quetzalcóatl, considerado como «la Serpiente Emplumada», la cual es una deidad que representa la dualidad inherente a la condición humana: la «serpiente» es cuerpo físico con sus limitaciones y las «plumas» son los principios espirituales. Otro nombre aplicado a esta deidad es Nahualpiltzintli, «príncipe de los nahuales».

Quetzalcóatl es también el título de los sacerdotes supremos de la religión tolteca. Se lo identificó con al menos un personaje histórico, a saber: Ce Ácatl Topiltzin, rey de Tula, quien, según el Memorial Breve de Colhuacan y la Historia de los Mexicanos por sus Pinturas, vivió entre los años 999 y 1051 de la era cristiana.

 

Feliz Navidad

Federico Cantú 1907-1989
Natividad 1952-53
Grabado al buri

lColección de arte Cantú Y de Teresa

La Navidad (en latín nativitas, «nacimiento») es una de las festividades más importantes del cristianismo, junto con la Pascua de resurrección y Pentecostés. Esta solemnidad, que conmemora el nacimiento de Jesucristo en Belén, se celebra el 25 de diciembre en la Iglesia católica, en la Iglesia anglicana, en algunas comunidades protestantes y en la mayoría de las Iglesias ortodoxas. En algunas de estas tradiciones también el 24, la Nochebuena (en inglés, Christmas Eve; en alemán, Heiligabend o Heiliger Abend) y el 26 (Second day of Christmas, zweiter Weihnachtsfeiertag o Stephanstag) son partes importantes de la fiesta de Navidad.

Federico Cantú trabajo el tema de la natividad en diferentes versiones y épocas! , por ejemplo esta versión donde aparece la virgen y el niño en el pesebre fue concebida para placa de cobre grabada al buril en la navidad de 1952 , sin embargo fue finalizada en 53 ( como bien lo señala el trazo ) , en esta obra podemos observar la impresión en primer estado de la placa , asi como ejercicios de trazo a lápiz dentro de la impresión en papel .Animado por el tema sacro, Federico empezó a trabajar diferentes motivos sacros cada una de las navidades , ya en 1960 y terminados los vitrales de la capilla de los Misioneros de Guadalupe , decidió trasladar a grabado en placa de cobre la monumentalidad de 6 metros del pasaje de la natividad , terminando este buril, lo titulo “ Natividad en Tamaulipas” mismo del que preparo un tiraje especial para el empresario regiomontano Ing. Carlos Guajardo, que fuera el patrocinador de la serie de murales de la facultad de Filosofía y Letras de nuestra UANL.

Adolfo Cantú

Navidad de 2022

 Madonna and Child was painted by one of the most influential artists of the late 13th and early 14th century, Duccio di Buoninsegna. This iconic image of the Madonna and Child, seen throughout the history of western art, holds significant value in terms of stylistic innovations of religious subject matter that would continue to evolve for centuries.

The Madonna and Child is understood to be an intimate, devotional image.

Some evocations of this understanding come from the burnt edges on the bottom of the original engaged frame caused by burning candles that likely would have sat just beneath Looking past the abrupt simplicity of the image, one can begin to understand the changes Duccio was applying to the depiction of religious figures in painting during the early 14th century. Duccio followed other innovative Italian artists of the time like Giotto, both of whom strove to move beyond the purely iconic Byzantine and Italo-Byzantine canon and attempted to create a more tangible connection between the viewer and the objects in the painting. For example, the parapet that sits at the bottom of the painting works as a visual enticement for the viewer to look past and into the moment that is captured between the Virgin and Christ Child. At the same time, the parapet also acts as a barrier between the vernacular world and the sacred.

The flight into Egypt is a story recounted in the Gospel of Matthew (Matthew 2:13–23) and in New Testament apocrypha. Soon after the visit by the Magi, an angel appeared to Joseph in a dream telling him to flee to Egypt with Mary and the infant Jesus since King Herod would seek the child to kill him. The episode is frequently shown in art, as the final episode of the Nativity of Jesus in art, and was a common component in cycles of the Life of the Virgin as well as the Life of Christ. Within the narrative tradition, iconic representation of the "Rest on the Flight into Egypt" developed after the 14th century.

when the Magi came in search of Jesus, they went to Herod the Great in Jerusalem to ask where to find the newborn "King of the Jews". Herod became paranoid that the child would threaten his throne, and sought to kill him (2:1–8). Herod initiated the Massacre of the Innocents in hopes of killing the child (Matthew 2:16–Matthew 2:18). But an angel appeared to Joseph in a dream and warned him to take Jesus and his mother into Egypt (Matthew 2:13).

Egypt was a logical place to find refuge, as it was outside the dominions of King Herod, but both Egypt and Judea were part of the Roman Empire, linked by a coastal road known as "the way of the sea",making travel between them easy and relatively safe