domingo, 9 de abril de 2017

Museo CYDT


The Dorian Sketchbook of Federico Cantú

Scenes from his Private Life




In 1929 Federico Cantú Garza, a young Mexican artist born in Nuevo León in 1907 to the writer María Luisa Garza Garza "Loreley" and the doctor and journalist Adolfo Cantú Jáuregui, fell in love in Mexico City with Luz Fabila Montes De Oca, a young woman from Amanalco, Estado de México. She was the younger sister of Alfonso Fabila Montes De Oca, a writer and anthropologist who at the time was romantically involved with the artist’s mother.



In Mexico City and in the midst of the Cristero War, Federico and Luz pledged their love before God and so united their lives. They then moved, together with the artist’s mother, to Los Angeles, California.


In the United States from 1929 to 1930, the young artist painted numerous canvases as well as several murals, and showed his work in various exhibitions. The artist’s wife, who in time would become a painter herself, gave birth to Ícaro Cantú Fabila in May 1929. Subsequently known as Federico, he would be the only child of their marriage.


Around 1929 and still in Los Angeles, Cantú began working on a sketchbook that he would later call the Dorian Sketchbook, in reference to the pseudonym that he used during that period of time, and in homage to The Picture of Dorian Grey, by Oscar Wilde. His wife bound the sketchbook in leather herself.


The marriage of Federico and Luz deteriorated before the end of 1930, not only because of disagreements between the couple, but also due to conflicts in the relationship between the painter’s mother and his wife’s brother. The artist left for France while his wife returned with their son to Mexico.


The Dorian Sketchbook was taken to Europe among the personal effects that accompanied Cantú on his journey to Paris. Once in France, the Mexican artist continued working on the sketchbook until 1933.


In Paris, the painter lived in the Montparnasse quarter and got to know the most famous figures of bohemian Paris, all the while working on numerous drawings, oil paintings, prints and sculptures, as well as a mural, and showing his work in several galleries. 


In 1933 the future of Europe was overshadowed by the rise of Adolph Hitler to power in Germany. The same year, Federico Cantú returned home to Mexico, after having lived in the United States and in France. 


As it was impossible to move back to Mexico with all his work, the artist left many drawings, oil paintings and sculptures in his Paris atelier, which were soon lost. Among the many works that Cantú left in Paris in 1933 was the Dorian Sketchbook.


The work left in Cantu’s atelier was probably destroyed, thrown away, or at best, sold off cheap by his landlord. Nothing more was known of the Dorian Sketchbook for several decades.


In 2014, eighty-one years after the disappearance of the artwork left by Federico Cantú in his Montparnasse atelier, an individual contacted Adolfo Cantú Elizarrarás, the painter’s grandson and curator of his work, telling him that as the result of an auction purchase in Paris, he was then in possession of a sketchbook which was said to be the work of the Mexican painter. It came from a private collection in France, the owner of which bought the piece from another person, who in turn inherited it from a family member. Adolfo Cantú, overjoyed by the sudden appearance of an object that he had thought was lost, corroborated the authenticity of the piece.


The individual who purchased the Dorian Sketchbook at auction in Paris traveled to Mexico and the United States, trying to sell it. He was unable to do so and decided to put it up for auction once again.


Sebastian Mennell, an Italian-British antiques dealer living in Mexico, became aware that a European auction house was offering a sketchbook by the artist Federico Cantú: the Dorian Sketchbook. Fascinated by the beauty of the object, he purchased it and brought it back to Mexico.


In November 2016, the aforesaid European dealer decided to show the Dorian Sketchbook in an antiques fair organized in Monterrey. In this fair, the piece was acquired by a Mexican collector.
 

At that time, a native of Monterrey and great-nephew of Federico Cantú’s wife, heard that his friend the Mexican collector had acquired the Dorian Sketchbook, and asked him for the piece on temporary loan so that it could be shown in an exhibition. 


Once he obtained the Dorian Sketchbook on loan, Luz Fabila Montes de Oca’s great-nephew approached his cousin Adolfo Cantú Elizarrarás, proposing that they organize an exhibition focused on this work, to be presented the painter’s birthplace - the city of Monterrey, Nuevo León. Adolfo Cantú Elizarrarás agreed and they began working together on the project. 


Thus, LiberArte, a Cultural Program of Facultad Libre de Derecho de Monterrey, has the honor of presenting here in Monterrey the exhibition entitled "The Dorian Sketchbook of Federico Cantú: Scenes from his Private Life". This exhibition is made possible by a private collector’s loan of the work itself, as well as the cooperation of the Federico Cantú Fabila & Elsa E. de Cantú Collection, the Cantú Y De Teresa Collection and the PFGC Collection, in addition to the support of the Centro de las Artes de Nuevo León, through its director, Mr. Jorge García Murillo, in the digitalization of the work.




In this exhibition, the Dorian Sketchbook returns to the land where the master Federico Cantú was born, as a work which forms part of the cultural heritage of Nuevo León and of Mexico itself, and which may now be enjoyed and appreciated by the entire community of Nuevo León, in the month and year in which we celebrate the 110th anniversary of the artist’s birth.


The Dorian Sketchbook – a work which Federico Cantú completed in Los Angeles and Paris between 1929 and 1933 and which has been lost for over eighty years – has now been discovered, restored and is now presented in Monterrey. It is an honor for LiberArte and Facultad Libre de Derecho de Monterrey to participate in this celebration of the Day of Cultural Heritage of Nuevo León, 2017.


                                                                                                     Monterrey, Nuevo León 

                                                                                                                        March 2017
Le dimanche des Rameaux est dans le calendrier liturgique chrétien le dimanche qui précède le dimanche de Pâques et qui marque l'entrée dans la semaine sainte1.
Il commémore deux événements : d'une part, l'entrée solennelle de Jésus à Jérusalem où il fut acclamé par une foule agitant des palmes et déposant des manteaux sur son passage narrée par les quatre Évangiles ; d'autre part, la Passion du Christ et sa mort sur la croix.
Son nom liturgique est le « Dimanche des Rameaux et de la Passion du Seigneur » (dans l'actuelle forme ordinaire du rite romaindepuis les réformes qui ont suivi le concile Vatican II ; avant cette réforme et dans la forme tridentine du rite romain et après la réforme de Jean XXIII2 il s’appelait « Deuxième dimanche de la Passion ou dimanche des Rameaux », le premier dimanche de la Passion étant le dimanche précédent et ces deux dimanches formant le « Temps de la Passion », inclus dans le Carême).

jueves, 6 de abril de 2017

El Evangelio de Juan es el evangelio canónico en que más asiduamente se cita a los apóstoles. Según Chapman, el Evangelio de Juan menciona nombres de apóstoles 74 veces, contra 50 del Evangelio de Marcos, 43 del Evangelio de Lucas y 40 del Evangelio de Mateo.24 Entre ellas se destacan las siguientes citaciones: 40 veces a Simón Pedro (como Simón, Pedro, Simón Pedro, o Cefas), 5 veces a Andrés, 12 a Felipe, 1 a Judas –no el Iscariote– (probable Judas Tadeo), 7 a Tomás, y 11 a Judas Iscariote.


Llamativamente, el Evangelio de Juan no hace mención de Juan el Apóstol siquiera una vez, ni tampoco de su hermano Santiago el Mayor. Aun la expresión que los agrupa a ambos, «hijos de Zebedeo», aparece únicamente una vez (Juan 21:2), en el apéndice que la gran mayoría de los estudiosos clasifica como un agregado posterior a la redacción del corpus del evangelio. Ese silencio absoluto respecto de Juan el Apóstol y de su hermano Santiago es tanto más sugestivo cuanto que Juan el Apóstol aparece 17 veces en los Evangelios sinópticos, en tanto que Santiago el Mayor es mencionado 15 veces y la expresión «hijos de Zebedeo» –sin nombrarlos expresamente– 3 veces.

domingo, 26 de marzo de 2017

Federico Cantú El último de los Románticos
Leticia López Orozco
Luis Rius Caso
Adolfo Cantú
Un joven arista que aprendió de los viejos de Montparnasse

Un Federico Cantú que finco su grandeza en monumentos, universidades, símbolos, billetes de lotería , timbres postales y monedas, edificios públicos, sacros y privados. Un Virtuoso maestro en el manejo de buril , cincel y pincel. Que Dominaría con la misma maestría el arte de caballete y mural.
El gran maestro del Arte Sacro y Profano del arte mitológico del arte nacionalista ,del desnudo, retrato, paisaje…….

#escueladeparis

domingo, 19 de marzo de 2017

Federico Cantú
 Trabaja indistintamente los temas bíblicos como los nacionales
En 1958 se da a la tarea de trabajar la capilla de los Misionero de Guadalupe
Y paralelamente los primeros trazos de lo que ahora conocemos como ;a maternidad del IMSS
Con ese carácter sarcástico que lo caracterizaba y muy a doc a este trazo decía

“ las viejitas se enojan con migo respecto a la madona del IMSS, me dicen- por lo menos le hubiera puesto un San José-“

jueves, 16 de marzo de 2017

Le carême est une période de jeûne et d'abstinence de quarante jours que le christianisme a instituée au ive siècle en référence aux quarante jours de jeûne de Jésus-Christ dans le désert



. 



Le jeûne est allégé les dimanches et le jour de l'Annonciation mais il n'est pas interrompu. Le carême se termine par une période de jeûne et de célébrations plus intenses, la Semaine Sainte.
Le carême est un temps de préparation à la commémoration de la Passion et de la Résurrection du Christ2. Dans les Laures, la Sainte Quarantaine est une période de jeûne dans la réclusion au désert et la solitude tandis que la Semaine sainte est un moment de jeûne tout différent dans la célébration communautaire des offices liturgiques.
La période de Carême doit être, pour les fidèles, une période d'approfondissement, de prière et de détachement des biens matériels en préparation de la fête de Pâques ; en ce sens, le carême comporte une période de quarante jours durant lesquels l'alimentation devrait être plus frugale et en particulier les aliments animaux restreints. Selon le comput de l'Église latine, le carême dure quarante jours du mercredi des cendres au dimanche des Rameaux. Dans les Églises de rite byzantin, le Carême est précédé d'une période de préparation appelée Petit Carême, laquelle se termine au dimanche de Carnaval. Le Carême proprement dit, appelé Grand Carême, dure du Lundi Pur au vendredi précédant le Samedi de Lazare et le dimanche des Rameaux. Les Églises de rite byzantin pratiquent également un second carême : le Carême de Noël, du 15 novembre au 24 décembre (qui correspond chez les catholiques aux vingt-quatre jours de l'Avent), ainsi que d'autres périodes plus courtes de jeûne qu'on appelle parfois abusivement « carême ». Pour les distinguer, les Églises d'Orient appellent Grand Carême le carême de Pâques qui précède l'Entrée de Jésus Christ à Jérusalem.

miércoles, 15 de marzo de 2017




Sin duda la obra Monumental de Cantú se encuentra equidistante a sus contemporáneos sin embargo sus maternidades, madonas y símbolos patrios son reconocidos a lo largo y ancho de nuestro país. Su monumentalidad es bien una transcripción fiel del conocimiento bíblico , histórico y mitológico  vivido por el artista a lo largo de su vida dentro del as tres escuelas mas importantes del siglo XX, La Escuela de Paris , La Escuela de Nueva York y la Escuela Mexicana, todas ellas vividas y narradas a lo largo de su legado artístico.

A su muerte en enero de 1989 deja El Maestro Cantú ; Una serie de anteproyectos murales que no pudo trasladar a la monumentalidad:  Entre ellos recordamos  “La raza Cósmica”. “El Libro de la Constitución del XVIII”.