viernes, 6 de noviembre de 2015


La obra aquí reunida ofrece un panorama de la producción artística de México, creada por muralistas que participaron en el diseño de un nuevo discurso visual. Hombres y mujeres de diferentes generaciones que se subieron a los andamios para dejar testimonio de los acontecimientos históricos, políticos y sociales de un México en constante transformación.

El florecimiento del arte monumental y el movimiento muralista –reconocidos ambos como el “Renacimiento mexicano”– se fortalece bajo la protección de José Vasconcelos en 1921, como Secretario de Educación Pública.

Encabezaron la lista muralistas de la consolidada escuela mexicana de pintura: Dr. Atl, José Clemente Orozco, David Alfaro Siqueiros y Diego Rivera, y se fortalece con la llegada de la segunda generación de muralistas. Influencia fundamental para la aparición de figuras como la de Rufino Tamayo, uno de los más fuertes oponentes a este nacionalismo exacerbado.

Esta exposición colectiva representa una revisión del trabajo realizado por tres generaciones de muralistas miembros del Salón de la Plástica Mexicana: Federico Cantú, 1907-1989, Guillermo Ceniceros, Arturo Estrada, Arturo García Bustos, José Hernández Delgadillo, 1927-2000, Rina Lazo, Daniel Manrique, 1939-2010, Adolfo Mexiac, Fanny Rabel, 1922-2008, Aurora Reyes, 1908-1985 y Luis Y. Aragón.

La obra de esta generación de muralistas se fue incorporando al entorno de la modernidad, en espacios públicos masivos como las estaciones del metro de la ciudad de México, los muros de los barrios y unidades habitacionales, entre otros inmuebles.



El conjunto permitirá conocer más ampliamente a los hombres y mujeres que han dejado este importante patrimonio, el proceso de producción de la obra monumental a través de piezas de mediano y gran formato, bocetos, fotografías y documentos de los artistas, además de reproducciones a escala de los murales que se encuentran en espacios públicos.

La actividad se realiza en el marco de actividades del sesenta y seis aniversario del Salón de la Plástica Mexicana y décimo aniversario del Centro Cultural del México Contemporáneo.


La muestra se llevará a cabo del 11 de noviembre al 9 de diciembre de martes a domingo 10:00 a 18:00 horas en la sede del centro Cultural del México Contemporáneo, Leandro Valle # 20 colonia Centro, México D.F.

domingo, 27 de septiembre de 2015








En 1954 Federico Cantú se da a la tarea de  pintar una obra mural al fresco
En el Museo Regional de Morelia, el tema lo titulo “Los Cuatro Jinetes del Apocalipsis”
La iconografía sumamente cautivante  , coloca a los cuatro jinetes cabalgando sobre el lago de Pátzcuaro , ( figura central )  separados por la disposición arquitectónica quedan dos murales restantes , uno relata la batalla del ejercito Español y a el lado opuesto los arqueros Tarascos
 Estas calcas son los bocetos del trazo final de la obra mural.


Pinacoteca Virreinal



sábado, 26 de septiembre de 2015

Los Altares NL
El Flechador del Sol

Quiero dejar en la piedra , una iconografía que narre la flora y la fauna de nuestro Estado de Nuevo León a lo lato el cero de la silla y el Flechador del Sol

Símbolo de nuestra tierra.

miércoles, 16 de septiembre de 2015


Colección de Arte Cantú Y de Teresa


Mexican Art & Life (1938-1939)
Mexican Art & Life was an English-language periodical published by Mexico’s Departamento Autónomo de Prensa y Publicidad in 1938-1939. Issues cost 15 cents per issue or 50 cents for a year’s subscription. UTSA Libraries Special Collections holds six of the seven issues published.

Mexican Art & Life’s topical content is fairly consistent throughout its brief history. Most issues feature a mix of travel-guide-like promotionals about tourist destinations, articles on artistic practices or traditions, profiles of Mexican artists, and commentaries on social or economic issues, as well as occasional prose or fiction pieces.
The very first issue (Jan. 1938) opens with an effusive paean to Mexico City, highlighting its Aztec history and its many North American firsts:
Issue No. 3 (July 1938) follows up with J. Rodolfo Lozada’s description of a trip to Yucatan, appealing to potential tourists with lines such as, “The soul of Merida imprisons and bewitches the wayfarer” and “Awaiting [the traveler] are the ruins of a civilization which, until a few years ago, only interested the archaeologist but now attract poet and philosopher alike.” Other featured sites include the Aztec ruins at Malinalco and the Iturbide Palace (April 1938), as well as Monte Alban and San Miguel de Allende (Oct. 1938).



Art history topics include Oaxacan pottery (April 1938), Mexican lithographs (July 1938), Political Caricature in Mexico (July 1938), 19th century photographic portraits (Oct. 1938), and Aztec animal figurines (April 1939), among others. Artists profiled over the course of the magazine include: landscape artist and portraitist Argüelles Bringas and oil painter Francisco Gutierrez (April 1938); painter Jesus Guerrero Galvan, wax-and-fabric modeler Luis Hidalgo, and landscapist Dr. Atl (July 1938); landscapist Jose Maria Velasco and painter Federico Cantú (Oct. 1938); and photographer Majuel Alvarez Bravo and painter Agustin Lazo (April 1939).
Seeming sometimes at odds with the celebratory tone and arts & culture of the rest of the magazine are occasional articles that explicitly address politics and economics. “The Moving Forces in Mexican Life” (Jan. 1938) draws on a lecture delivered by Dr. Ramon Beteta, then under-secretary of the Foreign Office” and focuses on the role of the Mexican Revolution as a social force, its development and future.

“The Indian Problem” (Oct. 1938) and “Mexico’s Demographic Policy” (April 1939) both make for particularly uncomfortable reading, although they likely reflected mainstream opinion at the time.The latter article is especially disturbing when the modern reader looks at it through the lens of global events of 1939.  Author Gilberto Loyo devotes several paragraphs to discussing immigrants and their relative desirability based on ethnicity or national origin. In particular, he discourages Jewish refugees, stating that “The demographic, economic and social characteristics of the Jews do not make them desirable for Mexico.” On the other hand, he espouses Spanish immigration (by Spaniards fleeing the Spanish Civil War) with the explanation that, “a crossing between the Spanish immigrant and the predominantly indigenous half-breed may take place.”

Colección de Arte Cantú Y de Teresa


Mexican Art & Life (1938-1939)
Mexican Art & Life was an English-language periodical published by Mexico’s Departamento Autónomo de Prensa y Publicidad in 1938-1939. Issues cost 15 cents per issue or 50 cents for a year’s subscription. UTSA Libraries Special Collections holds six of the seven issues published.

Mexican Art & Life’s topical content is fairly consistent throughout its brief history. Most issues feature a mix of travel-guide-like promotionals about tourist destinations, articles on artistic practices or traditions, profiles of Mexican artists, and commentaries on social or economic issues, as well as occasional prose or fiction pieces.
The very first issue (Jan. 1938) opens with an effusive paean to Mexico City, highlighting its Aztec history and its many North American firsts:
Issue No. 3 (July 1938) follows up with J. Rodolfo Lozada’s description of a trip to Yucatan, appealing to potential tourists with lines such as, “The soul of Merida imprisons and bewitches the wayfarer” and “Awaiting [the traveler] are the ruins of a civilization which, until a few years ago, only interested the archaeologist but now attract poet and philosopher alike.” Other featured sites include the Aztec ruins at Malinalco and the Iturbide Palace (April 1938), as well as Monte Alban and San Miguel de Allende (Oct. 1938).

Art history topics include Oaxacan pottery (April 1938), Mexican lithographs (July 1938), Political Caricature in Mexico (July 1938), 19th century photographic portraits (Oct. 1938), and Aztec animal figurines (April 1939), among others. Artists profiled over the course of the magazine include: landscape artist and portraitist Argüelles Bringas and oil painter Francisco Gutierrez (April 1938); painter Jesus Guerrero Galvan, wax-and-fabric modeler Luis Hidalgo, and landscapist Dr. Atl (July 1938); landscapist Jose Maria Velasco and painter Federico Cantú (Oct. 1938); and photographer Majuel Alvarez Bravo and painter Agustin Lazo (April 1939).
Seeming sometimes at odds with the celebratory tone and arts & culture of the rest of the magazine are occasional articles that explicitly address politics and economics. “The Moving Forces in Mexican Life” (Jan. 1938) draws on a lecture delivered by Dr. Ramon Beteta, then under-secretary of the Foreign Office” and focuses on the role of the Mexican Revolution as a social force, its development and future.

“The Indian Problem” (Oct. 1938) and “Mexico’s Demographic Policy” (April 1939) both make for particularly uncomfortable reading, although they likely reflected mainstream opinion at the time.The latter article is especially disturbing when the modern reader looks at it through the lens of global events of 1939.  Author Gilberto Loyo devotes several paragraphs to discussing immigrants and their relative desirability based on ethnicity or national origin. In particular, he discourages Jewish refugees, stating that “The demographic, economic and social characteristics of the Jews do not make them desirable for Mexico.” On the other hand, he espouses Spanish immigration (by Spaniards fleeing the Spanish Civil War) with the explanation that, “a crossing between the Spanish immigrant and the predominantly indigenous half-breed may take place.”