Federico Cantú

Quinta Estación: Simón el Cirineo ayuda a Jesús a llevar la cruz.
Simón de Cirene o El Cirineo fue, según los evangelios de Marcos , Mateo y Lucas, la persona que fue obligada a llevar la cruz de Jesús hasta el Gólgota, donde luego sería crucificado. Se dice que "venía del campo", y en el evangelio de Marcos se hace referencia a él como "padre de Alejandro y de Rufo". No hay ningún dato más acerca de él en el Nuevo Testamento.

Su ciudad de origen, Cirene, estaba situada en el norte de África. Según la tradición, sus hijos Rufo y Alejandro se hicieron misioneros. El hecho de que se mencione sus nombres sugiere que pudo tratarse de personajes relevantes en el cristianismo primitivo.

Cantu - USA

Cantú, Mural, 1960, Los Angeles County Museum of Art, the Bernard and Edith Lewin Collection of Mexican Art, © Estate of Federico Cantú

A Mexican Mural Study by Federico Cantú

Rachel Kaplan, Wallis Annenberg Curatorial Fellow

Latin American art

In 1928, the Mexican artist Federico Cantú (1907–1989) arrived in Los Angeles. Cantú had previously attended the Open Air School of Painting in Coyoacán, Mexico City, directed by Alfredo Ramos Martínez (1871–1946) (who also spent time in Los Angeles), assisted Diego Rivera (1886–1957) on his murals at the Ministry of Public Education in Mexico City, and studied sculpture in Paris with the Spanish artist José de Creeft (1884–1982). In February 1930, James Tarbotton Armstrong, curator of the University of Southern California Museum, arranged Cantú’s first exhibition of drawings and paintings at the Los Angeles Museum of History, Science and Art in Exposition Park—LACMA’s parent institution. Though Cantú soon left for New York and Paris, and finally a return to Mexico, over the years he continued to visit Los Angeles, exhibiting his work at the Stendahl Galleries (late 1930s and early 1940s) and Lorser Feitelson’s Gallery of Mid-20th-Century Art (1948). 

When Cantú returned to Mexico, he primarily devoted himself to painting neoclassical and religious scenes. In the 1950s, he began painting murals in private homes in Mexico City, which soon led to a number of public commissions. In several of these murals, Cantú explored pre-Columbian themes, absent from his earlier work, a good example of which is Enseñanzas de Quetzalcóatl (Quetzalcóatl’s Teachings), painted for the home of Benito Coquet (1913–1993). 

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