lunes, 20 de marzo de 2023

Museo CYDT



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
35
æ 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 KanagawaKanagawa 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 Shunksai 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 FujiFugaku sanjrokkeiof 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 Bunz, 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 PipesImayL· 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 FujisFugaku 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 FujiFugaku sanjrokkei. Surprisingly, Nishimuraya agrees, and the first ten designs of the series come out in 1830 in the then still quite exceptional and untested ban 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 DawnGaifL· kaisei and Shower below the SummitSanka 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 Enshya Matabei commissions from Hokusai the designs of a number of small envelopes. Though published under the general title of Hundred Views in the Eastern CapitalTto 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 Rytei Tanehiko novelShhon 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.



Museo CYDT

 


 


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 ahorales dicey 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



jueves, 2 de marzo de 2023

Museo CYDT


 Federico Cantú 1897-1989

Ceres 

 

La mayoría de los pintores Mexicanos han dedicado su labor creativa a la obra por encargo y es ahí donde el retrato, el dibujo, la escultura y el grabado  tiene un valor preponderante. 





Esta obra en donde Cantú evoca la imagen de la “Diosa Ceres” no serán excepción, porque los temas mitológicos traídos a la mexicanidad son una constante en su legado, por ello frecuentemente, esta visión se funde con retratos y pensamientosque el artista lleva consigo para transformarlos en obras selectas; Recordemos que Eurídice la convierte en Gloria Calero Y porque no, él se convierte en Orfeo tratando de salir del inframundo , a Don Alfonso Reyes lo convierte en “Poeta Laureado”  recordando el pasaje de La metamorfosis de Daphne y Apolo y fundiéndolo en un hermoso tótem que custodia la Capilla Alfonsina en la UANL

En esta obra la modelo se convierte en una especie de “Ceres Mexicana” 

Y que más tarde se trasformar en la primer placa de grabado titulada “Ceres” seguida de

maravillosas y sutiles placas de acero, cobre y oro que daránsalida a un centenar de obras graficas.

Ceres era hija de Saturno y Ops , madre de Proserpinahermana de Juno, Vesta, Plutón y que Enseñó a los hombres el arte de cultivar la tierra, de sembrar, recoger el trigo y elaborar pan, lo que hizo que fuese considerada diosa de la agricultura. Su hermano Júpiter, prendado de su belleza, engendró con ella a Proserpina (asimilada a Perséfone en la mitología griega). También Neptuno se enamoró de ella, y para escapar de éste Ceres se transformó en yegua, pero el dios se dio cuenta y se transformó a su vez en caballo, siendo así Ceres madre del caballo Arión.

De ahí Federico Cantú decide en 1962 plasmar de manera monumental todo este pensamiento cultivado a lo largo de su vida creativa en el paraje de Los Altares en la carretea a Linares en Nuevo León, donde trasforma a  “Ceres” en una dualidad Mesoamericana visualizándola como “Xilonen” Diosa del maíz

 

Adolfo Cantú-Art Consultant & Specialist

Cantú Y de Teresa Collection       

 

 

Hola Sofía : Aquí te envió el texto de nuevo porque en el cel. se me fueron muchos errores 

Saludos cordiales,

Adolfo

 

Ceres era también la patrona de Enna (Sicilia). Según la leyenda, rogó a Júpiter que Sicilia fuese ubicada en los cielos. El resultado, debido a que la isla tiene forma triangular, fue la constelación Triangulum, uno de cuyos nombre antiguos fue «Sicilia».

Tenía doce dioses menores que la ayudaban y estaban a cargo de los aspectos específicos de la agricultura: Vervactor, que transforma la tierra en barbecho; Reparator, que la prepara; Imporcitor (del latín imporcare, ‘hacer surcos’), que la ara en anchos surcos; Insitor, que siembra; Obarator, que ara la superficie; Occator, que la escarifica; Sarritor, que la escarda; Subruncinator, que la clarea; Messor, que cosecha; Conuector, que transporta lo cosechado; Conditor, que lo almacena; y Promitor, que lo distribuye. 

 

 

Adolfo Cantú-Art Consultant & Specialist

Cantú Y de Teresa Collection      


Museo CYDT

 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

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