Museo CYDTlunes, 26 de febrero de 2018
sábado, 24 de febrero de 2018
Museo CYDT
The day of the Mexican flag
Aztec codices (Nahuatl languages: Mēxihcatl āmoxtli Nahuatl pronunciation: [meːˈʃiʔkatɬ aːˈmoʃtɬi]) are books written by pre-Columbian and colonial-era Aztecs. These codices provide some of the best primary sources for Aztec culture. The pre-Columbian codices mostly do not in fact use the codex form (that of a modern paperback) and are, or originally were, long folded sheets. They also differ from European books in that they mostly consist of images and pictograms; they were not meant to symbolize spoken or written narratives.The colonial era codices not only contain Aztec pictograms, but also Classical Nahuatl (in the Latin alphabet), Spanish, and occasionally Latin. Some are entirely in Nahuatl without pictorial content.
Although there are very few surviving pre-conquest codices, the tlacuilo (codex painter) tradition endured the transition to colonial culture; scholars now have access to a body of around 500 colonial-era codices. Colonial-era Nahuatl language documentation is the foundational texts of the New Philology, which utilizes these texts to create scholarly works from the indigenous viewpoint.
miércoles, 21 de febrero de 2018
domingo, 18 de febrero de 2018
Museo CYDT
Federico & Elsa
Museo Casa Estudio Federico & Elsa
Fideicomiso Museo Casa Estudio F. Cantú F. & Elsa E. de Cantú
Misión del museo: Cultivar y trasmitir el legado artístico Cultural de la Escuela Mexicana y sus vínculos con la Escuela de Paris incluyendo la grafica, la escultura, la pintura de caballete y pintura mural.
Del anecdotario familiar
La primera obra de la Colección
Cuenta Elsa E de Cantú:
Cuando Novios en 1952 Llegamos a la feria del libro Federico y yo , había un puesto donde vendían grafica, nosotros en esa época no teníamos mucho dinero y mucho menos para comprar una obra de arte, pero preguntamos cuanto costaban los grabados y él señor nos dijo- mire este se lo vendo en cinco pesos-
Federico saco el dinero y le pregunto por el titulo de la obra “Quien me compra mi maíz” fue nuestra primera obra , entonces al pagar Federico le pidió que se la dedicara Leopoldo Méndez le pregunto como te llamas – Federico Cantú – no me digas que eres hijo de Federico, salúdame mucho a tu padre-
Esta obra nos acompaño durante el éxodo de Casas que habitamos durante mas de una década tanto en la Ciudad de México como en Monterrey
Elsa E de Cantú
Museo Casa Estudio Federico & Elsa
El Museo es el producto del esfuerzo de tres generaciones de artistas que década en década se irían sumando de legado a legado y que al final se funden dentro de una idea arquitectónica soñada y diseñada en su conjunto por Federico y Elsa durante seis décadas de vida.
Adolfo Cantú
CYDT
Art Consultant & Specialist
FCG Copyright ©
sábado, 17 de febrero de 2018
Museo CYDT
which, the appeal of some of the water-colors by IViariano, and of Amer-. Pelaez is not to be denied. It seems to me that Federico Cantu and Guillerrno rather than Rivera, Orozco and 1Vferida, enliven the 1V[ group
New York Times archive.
February 08, 1938 - By EDWARD ALDEN JEWELL - Print Headline: "SHOW REPRESENTS MEXICAN ARTISTS; Work of Fifteen Painters of Present Day on View at the Valentine Gallery"
Siqueiros, Julio Castellanos and Dr. Atl, although much less familiar than the first three named, are not newcomers here, but Federico Cantu, Gabriel Fernandez Ledesma, Guerrero Galvan, Augustin Lazo, Roberto
May 21, 1939 - - Print Headline: "OPENINGS OF THE WEEK"
Associated American Artists Gallery (May 23-June 12). Brabazon, Hercules--Water-colors. Knoedler Galleries (May 22-June 3). Cantu, Federico--Recent oils. Charles Morgan Gallery. (May 22-June 10). Dix,
May 28, 1939,
AMERICAN artists to the number of thirty-six are repre sented in the eleventh annual exhibition of the American Print Makers, current (till June 12) at the galleries of Associated American Artists. Informal in operation, this organization has no officers, but Anne Goldthwaite, one of the twelve founders, acts as chairman.
January 28, 1940,
new exhibitors in -- the galleries-Ar bit Blatas, born in Lithuania, whose paintings are at the French Art Gallery, and Federico Cantu, of Mexican birth, whose oils and drawings may be seen at the Charles Morgan Gal
April 11, 1943 - By EDWARD ALDEN JEWELLE.A.J - Print Headline: "BIG NEW GROUP EXHIBITIONS; The International Water-Color Show at the Brooklyn Museum -- 'Arizona Plan' at the Metropolitan -- Annual by Women"
which, the appeal of some of the water-colors by IViariano, and of Amer-. Pelaez is not to be denied. It seems to me that Federico Cantu and Guillerrno rather than Rivera, Orozco and 1Vferida, enliven the 1V[ group
April 16, 1944 - By HOWARD DEVREE - Print Headline: "NEW GROUP SHOWS ARE VARIED"
and several small and adept wood figures by Ellen Key-Oberg. The Artists' Gallery is showing drawings by Hans Boehler, Federico Cantu, Maurice Golubov, Joseph and Louis Monza, and etchings and lithographs by Charles
November 10, 1946 - By H.R. HAYS - Print Headline: "People of San Rafael"
Mackinley Helm is no exception.People of San Rafael By H.R. HAYS A MATTER OF LOVE. By Mackinicy Helm. Decorations . by Federico Cantu. 251 pp. New York: Harper Ec Bros. s2.50. tales of a provincial city of the
miércoles, 14 de febrero de 2018
Museo CYDT
Ramos Martínez was born in 1871 in Monterrey, Nuevo León, the ninth child of Jacobo Ramos and his wife Luisa Martínez His father was a successful merchant trading in jewelry, fine fabrics, silver, embroidered suits and hand-woven sarapes from Saltillo.
From an early age Ramos Martínez was recognized as prodigiously talented. As a student, his preferred medium was watercolor and he won numerous awards for his achievements.
In a supreme bit of good fortune, Phoebe Hearst attended a dinner in Mexico City for the President of Mexico, Porfirio Díaz, which featured place mats designed and painted by the young Ramos Martínez. Hearst was so impressed with the decoration that she asked to meet the artist and see other examples of his work. After their meeting, she not only bought all of Ramos Martínez's watercolors, but agreed to provide financial support for the artist's continued study in Paris
Ramos Martínez's arrival in Paris in 1900 coincided with further development of the Post-Impressionist movement. He was able to see firsthand the work of Paul Gauguin, Vincent van Gogh, Henri Matisse, Claude Monet, Georges Seurat and Odilon Redon. Furthermore, Hearst’s monthly stipend of 500 francs, combined with Ramos Martínez's fluent French, afforded him a comfortable lifestyle and the ability to travel throughout Europe.
Ramos Martínez showed at a number of galleries in Paris. One of the leading art critics of the day, Camille Mauclair wrote that the work of Ramos Martínez was in the same class as the finest Impressionist landscapes exhibited in Paris. Though sales of his artwork were proceeding, and Ramos Martínez had achieved a degree of comfort as a ‘Parisian’, in 1909 he felt a strong desire to return home to Mexico.
By the time Ramos Martínez arrived in early 1910, Mexico was a nation in turmoil.The Mexican Revolution was beginning in earnest and the 30-year rule of President Porfirio Díaz was on the verge of collapse due to the pressure of the political reforms of Francisco I. Madero. Within a year of the President’s resignation in 1911, the art students at the National Academy called a strike in order to protest the 'aesthetic dictatorship' of the Academy. They demanded the establishment of a 'Free Academy' and proposed Ramos Martínez as director. Hailed as a distinguished alumnus, a bona fide European success, and sympathetic to the students’ cause, Ramos Martínez became first the assistant Director and, by 1913, the Director of the Academy.
Now, as Director, he was able to open the first of his Open Air Schools of Painting.[6] With the example of the Impressionists and Post-Impressionists in mind and fortified by his sense of the primacy of the artist’s personal vision, Ramos Martínez's Open Air Schools redefined the nature of artistic instruction in Mexico
The political situation in Mexico remained extremely volatile for the next decade and by 1920 Ramos Martínez was reinstated as Director of the Academy. Despite all the politics, the Open Air Schools flourished and Ramos Martínez was acknowledged as a true innovator in the Mexican art world and frequently called the 'Father of Modern Mexican Art'.
Having relocated to Los Angeles in 1929, Ramos Martínez was offered an exhibition by William Alanson Bryan, Director of the Los Angeles County Museum of Art (LACMA) at Exposition Park. A number of subsequent exhibitions followed, with Martínez developing a strong following in the Hollywood community.
Alfredo Ramos Martínez died unexpectedly at the age of 73 on November 8, 1946 in Los Angeles. He was buried at Holy Cross Cemetery in Culver City, California. At the time of his death, Ramos Martínez was working on a series of murals entitled "The Flower Vendors" at Scripps College[ The unfinished murals have been preserved as a tribute to the artist
Alfredo Ramos Martínez 1871-1946
Cantú Y de Teresa Collection
Cantú Y de Teresa Collection
Alfredo Ramos Martínez (November 12, 1871 in Monterrey, Nuevo León, Mexico – November 8, 1946 in Los Angeles) was a painter, muralist, and educator, who lived and worked in Mexico, Paris, and Los Angeles. Considered by many to be the 'Father of Mexican Modernism', Ramos Martínez is best known for his serene and empathetic paintings of traditional Mexican people and scenes. As the renowned Nicaraguan poet Rubén Darío wrote, "Ramos Martínez is one of those who paints poems; he does not copy, he interprets; he understands how to express the sorrow of the fisherman and the melancholy of the village.”
Ramos Martínez was born in 1871 in Monterrey, Nuevo León, the ninth child of Jacobo Ramos and his wife Luisa Martínez His father was a successful merchant trading in jewelry, fine fabrics, silver, embroidered suits and hand-woven sarapes from Saltillo.
From an early age Ramos Martínez was recognized as prodigiously talented. As a student, his preferred medium was watercolor and he won numerous awards for his achievements.
In a supreme bit of good fortune, Phoebe Hearst attended a dinner in Mexico City for the President of Mexico, Porfirio Díaz, which featured place mats designed and painted by the young Ramos Martínez. Hearst was so impressed with the decoration that she asked to meet the artist and see other examples of his work. After their meeting, she not only bought all of Ramos Martínez's watercolors, but agreed to provide financial support for the artist's continued study in Paris
Ramos Martínez's arrival in Paris in 1900 coincided with further development of the Post-Impressionist movement. He was able to see firsthand the work of Paul Gauguin, Vincent van Gogh, Henri Matisse, Claude Monet, Georges Seurat and Odilon Redon. Furthermore, Hearst’s monthly stipend of 500 francs, combined with Ramos Martínez's fluent French, afforded him a comfortable lifestyle and the ability to travel throughout Europe.
Ramos Martínez showed at a number of galleries in Paris. One of the leading art critics of the day, Camille Mauclair wrote that the work of Ramos Martínez was in the same class as the finest Impressionist landscapes exhibited in Paris. Though sales of his artwork were proceeding, and Ramos Martínez had achieved a degree of comfort as a ‘Parisian’, in 1909 he felt a strong desire to return home to Mexico.
By the time Ramos Martínez arrived in early 1910, Mexico was a nation in turmoil.The Mexican Revolution was beginning in earnest and the 30-year rule of President Porfirio Díaz was on the verge of collapse due to the pressure of the political reforms of Francisco I. Madero. Within a year of the President’s resignation in 1911, the art students at the National Academy called a strike in order to protest the 'aesthetic dictatorship' of the Academy. They demanded the establishment of a 'Free Academy' and proposed Ramos Martínez as director. Hailed as a distinguished alumnus, a bona fide European success, and sympathetic to the students’ cause, Ramos Martínez became first the assistant Director and, by 1913, the Director of the Academy.
Now, as Director, he was able to open the first of his Open Air Schools of Painting.[6] With the example of the Impressionists and Post-Impressionists in mind and fortified by his sense of the primacy of the artist’s personal vision, Ramos Martínez's Open Air Schools redefined the nature of artistic instruction in Mexico
The political situation in Mexico remained extremely volatile for the next decade and by 1920 Ramos Martínez was reinstated as Director of the Academy. Despite all the politics, the Open Air Schools flourished and Ramos Martínez was acknowledged as a true innovator in the Mexican art world and frequently called the 'Father of Modern Mexican Art'.
Having relocated to Los Angeles in 1929, Ramos Martínez was offered an exhibition by William Alanson Bryan, Director of the Los Angeles County Museum of Art (LACMA) at Exposition Park. A number of subsequent exhibitions followed, with Martínez developing a strong following in the Hollywood community.
Alfredo Ramos Martínez died unexpectedly at the age of 73 on November 8, 1946 in Los Angeles. He was buried at Holy Cross Cemetery in Culver City, California. At the time of his death, Ramos Martínez was working on a series of murals entitled "The Flower Vendors" at Scripps College[ The unfinished murals have been preserved as a tribute to the artist
miércoles, 7 de febrero de 2018
Museo CYDT
Indigenismo
Patrimonio Mural IMSS
Federico Cantú 1907-1989
Mural
Las Enseñanzas de Quetzalcóatl
Mural
Las Enseñanzas de Quetzalcóatl
IndigenismoPatrimonio Mural IMSS
Quetzalcóatl, considerado como "La Serpiente Emplumada", 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 vivió entre los años 895 y 947 de la era cristiana
Las enseñanzas de Quetzalcóatl quedaron recogidas en ciertos documentos llamados Huehuetlahtolli (‘antiguas palabras’), transmitidos por tradición oral y puestos por escrito por los primeros cronistas españoles. Se han publicado traducciones parciales de los mismos.
Debido a que consideraban que todo el Universo tiene una naturaleza dual o polar, los toltecas creían que el Ser Supremo tiene una doble condición. Por un lado crea el mundo y por el otro lo destruye. La función destructora de Quetzalcóatl recibió el nombre de Tezcatlipoca, “espejo negro que humea”, cuya etimología es la siguiente: Tezcatl, “espejo”, tliltic, “negro”, Poca, “humo”. Los informantes del padre Motolinía describieron a esta deidad del siguiente modo: «Tezcatlipoca era el que sabía todos los pensamientos y estaba en todo lugar y conocía los corazones; por eso le llamaban Moyocoya (ni), que quiere decir que es Todopoderoso o que hace todas las cosas; y no le sabían pintar sino como aire.
Las enseñanzas de Quetzalcóatl quedaron recogidas en ciertos documentos llamados Huehuetlahtolli (‘antiguas palabras’), transmitidos por tradición oral y puestos por escrito por los primeros cronistas españoles. Se han publicado traducciones parciales de los mismos.
Debido a que consideraban que todo el Universo tiene una naturaleza dual o polar, los toltecas creían que el Ser Supremo tiene una doble condición. Por un lado crea el mundo y por el otro lo destruye. La función destructora de Quetzalcóatl recibió el nombre de Tezcatlipoca, “espejo negro que humea”, cuya etimología es la siguiente: Tezcatl, “espejo”, tliltic, “negro”, Poca, “humo”. Los informantes del padre Motolinía describieron a esta deidad del siguiente modo: «Tezcatlipoca era el que sabía todos los pensamientos y estaba en todo lugar y conocía los corazones; por eso le llamaban Moyocoya (ni), que quiere decir que es Todopoderoso o que hace todas las cosas; y no le sabían pintar sino como aire.
jueves, 1 de febrero de 2018
Museo CYDT
Y los bendijo Simeón, y dijo á su madre María: He aquí, éste es puesto para caída y para levantamiento de muchos en Israel;. (Lucas 2:34)
Presentación de Jesús en el Templo es la denominación convencional de un episodio evangélico y un tema iconográfico relativamente frecuente en el arte cristiano.
Se refiere a la presentación de Jesucristo por sus padres, en el Templo de Jerusalén. Está narrado por Lucas el Evangelista en el Nuevo Testamento (Lucas 2,22-40).
Tratamiento diferenciado, tanto en el arte como en el calendario litúrgico o santoral, tiene una escena previa: la Circuncisión de Jesús, operación ritual prescrita en la religión judía,1 y que se le hizo a Jesús a los ocho días de nacer (se celebra el 1 de enero). La presentación tuvo lugar posteriormente cuando se cumplieron los días de la purificación.
La fiesta de la Presentación se celebra el día dos de febrero. Por asociación de actos y de simbolismos se celebra el mismo día la Purificación de la Virgen, llamada también fiesta de las Candelas o de la Virgen de Candelaria. La iglesia bizantina la convirtió en una fiesta solemne muy importante.
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