jueves, 16 de noviembre de 2017

Federico Cantú y el IMSS
Exposición
Documentos- Fotografías – Proyectos murales – Esculturas- Grabados
Desarrollo Cultural IMSS & Colección de Arte Cantú Y de Teresa
Diciembre 2017

Paseo de la Reforma 476
Ciudad de México

Federico Cantú and the IMSS
Exposition
Documents - Photographs - Wall projects - Sculptures - Engravings
IMSS Cultural Development & Cantu & Teresa's Art Collection
December 2017

Paseo de la Reforma 476
Mexico City

miércoles, 15 de noviembre de 2017




10 things to know about Hokusai



An essential introduction to one of Japan’s best-known artists — a man who had at least 30 names, and looked forward to old age

KATSUSHIKA HOKUSAI  (1760-1849) 3,000 - 4,000

UTAGAWA KUNIYOSHI (1797-1861)

UTAGAWA YOSHITSUYA (1822-1866)

TSUKIOKA YOSHITOSHI (1839-1892)

KOBAYASHI KIYOCHIKA (1847–1915)

YOSHIDA HIROSHI (1876-1950) 6,000 - 6,500

KAWASE HASUI (1883-1957)

KOBAYAKAWA KIYOSHI (1889-1948)

SUZUKI HARUNOBU (1724-1770)

KITAGAWA UTAMARO (1753?–1806)

TORII KIYONAGA (1752-1815)
KATSUKAWA SHUNCHO (act. c. 1780-1800)

UTAGAWA HIROSHIGE (1797-1858)

KAMEDA BOSAI (1754-1826)

KEISAI EISEN (1790-1848)

UTAGAWA HIROSADA (ACTIVE CIRCA1826-1863)

SHIBATA ZESHIN (1807-1891)


Katsushika Hokusai’s exact date of birth is unknown


No one knows for certain, but Katsushika Hokusai is thought to have been born on 30 October 1760 — the 23rd day of the ninth month of the 10th year of Japan’s Hōreki era. His father is believed to have been Nakajima Ise, the official mirror-maker for the country’s Shogun. Hokusai, however, was never accepted as an heir — a fact that has led some art historians to suggest his mother was a concubine. 


He began painting as a young child


Hokusai started young. As an old man, he recalled: ‘From the time I was 6, I was in the habit of sketching things I saw around me.’ His father is thought to have been a formative influence, having made mirrors and painted the detailed designs that ran around their edges. 


By 14, he had become an apprentice wood carver


In 18th-century Japan, reading books made from woodcut blocks became a popular form of entertainment. At 14, Hokusai became an apprentice to a wood carver — later being accepted into the studio of esteemed painter and printmaker Katsukawa Shunsho. Katsukawa was a master of the ukiyo-e genre, which flourished in Japan from the 17th to the 19th centuries. Translated as ‘pictures of the floating world’, ukiyo-e artists made woodblock prints depicting popular subjects — from kabuki actors to sumo wrestlers, female beauties and famous landscapes. 



He was known by at least 30 different names during his lifetime


While it was not uncommon for Japanese artists to change their names, Hokusai did so more often than any other major artist of his era — roughly once every decade, occasionally adopting informal pseudonyms. Born Tokitaro, he published his first series of prints in 1779 under the name Shunro, given by his first master. In later life, he referred to himself as Gakyo rojin manji, or The Old Man Mad About Art. Often linked to changes in his artistic style, Hokusai’s names have been used to identify different periods of production. His predilection for new titles was trumped only by his love of moving house: although he never left the same region, Hokusai lived in more than 90 dwellings during the course of his life.   



 His most famous series is 36 Views of Mount Fuji, which includes his most iconic work


Hokusai didn’t shy away from large-scale, public works that employed unconventional methods. During a festival in Tokyo in 1804, he created a portrait of the Buddhist priest Daruma measuring 180m in length, using a broom and buckets of ink. For a competition at the court of Shogun Tokugawa Ienari (1773-1841), he went one step further, painting a chicken’s feet red before chasing it across a blue curve painted on paper. The resulting work was presented as a depiction of Japan’s Tatsuta River with floating maple leaves — the extravagant display making Hokusai the winner of the competition. 



His youngest daughter became an artist in her own right



Hokusai’s first wife died in the early 1790s, having been married to the artist for a decade. He married again in 1797, but his second wife also died shortly after. Hokusai nevertheless fathered two sons and three daughters, and his youngest daughter, Katsushika Oi, became a celebrated artist in her own right. She was known for her images of beautiful women. 


Hokusai was rejected by the studio that trained him

When Katsukawa Shunsho died in 1793, Hokusai remained at the school he had established, working under Shunsho’s chief disciple, Shunko. It was during this period that Hokusai began to explore other styles of art, influenced by French and Dutch engravings that were smuggled into the country at a time when contact with Western culture was forbidden. His woodblocks began to incorporate elements of the shading, colouring and perspective he had seen in Western works, revolutionising ukiyo-e art. 
Although his exact motivations remain unclear, Shunko expelled Hokusai from the Katsukawa school shortly after. The rejection would prove to be a turning point in the artist’s career, Hokusai later commenting, ‘What really motivated the development of my artistic style was the embarrassment I suffered at Shunko’s hands.’


He made more than 30,000 works during his lifetime

Hokusai is said to have worked with frenetic energy, rising early to paint and continuing until well after dark. Although his studio and much of his work was destroyed in a fire in 1839, the artist is thought to have produced 30,000 works over the course of his lifetime, his prolific output including paintings, sketches, woodblock prints, erotic illustrations and picture books. 


His lifetime

Hokusai is said to have worked with frenetic energy, rising early to paint and continuing until well after dark. Although his studio and much of his work was destroyed in a fire in 1839, the artist is thought to have produced 30,000 works over the course of his lifetime, his prolific output including paintings, sketches, woodblock prints, erotic illustrations and picture books. 


He wasn’t afraid of growing old


Hokusai spent his life anticipating old age. The artist commented: ‘When I was 50 I had published a universe of designs, but all I have done before the age of 70 is not worth bothering with. At 75, I’ll have learned something of the pattern of nature, of animals, of plants, of trees, birds, fish and insects. When I am 80, you will see real progress. At 90, I shall have cut my way deeply into the mystery of life itself. At 100 I shall be a marvellous artist. At 110, everything I create — a dot, a line — will jump to life as never before.’ Hokusai never got to see whether his prediction held true. On 10 May 1849 he died aged 88, apparently exclaiming on his deathbed, ‘If only Heaven will give me just another ten years... Just another five more years, then I could become a real painter.’



Katsushika Hokusai (1760-1849) 
Kanagawa oki nami ura (In the well of the great wave off Kanagawa), from the series Fugaku sanjurokkei (The thirty-six views of Mount Fuji)
Signed Hokusai aratame Iitsu hitsu, published by Nishimuraya Yohachi [Eijudo], blue outline--good impression and color, centerfold, trimmed, tear left edge










domingo, 12 de noviembre de 2017





A strange metamorphosis overcomes you in the contemplation of erotic art. The greater the implicit relationship between creator and subject, the more you nd yourself pulled into a ménage a trois, where you, the viewer, become the third part of the love triangle: the necessary voyeur, who re-electri es the long-gone moment with your intrusive gaze

jueves, 9 de noviembre de 2017

Cantú Y de Teresa Collection




Federico Cantú obra Monumental en el IMSS
Diciembre del 2017



Revisión de la obra que ejecutara 
Federico Cantú 1907-1989
Para el Instituto Mexicano del Seguro Social - IMSS

Inauguración Diciembre del  2017 Diciembre

Se presenta el acerbo del Patrimonio IMSS

En Colaboración con la Colección Cantú Y de Teresa

sábado, 4 de noviembre de 2017

Federico Cantú 1907-1989
Orphée

Admirez le pouvoir insigne
Et la noblesse de la ligne :
Elle est la voix que la lumière fit entendre
Et dont parle Hermès Trismégiste en son Pimandre.

Disfrute de la insignia
de poder y nobleza de la línea:
Es la voz que se escuchó Y la luz se menciona
en su Pimander Hermes Trismegisto.




Guillaume Apollinare

jueves, 2 de noviembre de 2017

Museo CYDT




Los Centzon Totochtin (en náhuatlcentzontotochtin‘cuatrocientos conejos’centzontli, cuatrocientos; totochtin, conejos’)  en la mitología mexica son los 400 espíritus o 400 dioses menores del pulque, de la embriaguez, de los borrachos.1​ Hijos o hermanos de Patécatl, el dios del pulque y Mayáhuel, la diosa del maguey o agave. Los colores rojo y negro eran distintivos de los 400 dioses de los borrachos, y se les relaciona con el sueño y el despertar, con la ofuscación y la lucidez, con la muerte.

martes, 31 de octubre de 2017

Day of the Dead

Day of the Dead (SpanishDía de Muertos) is a Mexican holiday celebrated throughout Mexico, in particular the Central and South regions, and by people of Mexican ancestry living in other places, especially the United States. It is acknowledged internationally in many other cultures. The multi-day holiday focuses on gatherings of family and friends to pray for and remember friends and family members who have died, and help support their spiritual journey. In 2008, the tradition was inscribed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.


The holiday is sometimes called Día de los Muertos in Anglophone countries, a back-translation of its original name, Día de Muertos. It is particularly celebrated in Mexico where the day is a public holiday. Prior to Spanish colonization in the 16th century, the celebration took place at the beginning of summer. Gradually, it was associated with October 31, November 1 and November 2 to coincide with the Western Christianity triduum of AllhallowtideAll Saints' EveAll Saints' Day, and All Souls' Day