Painter. He started off as a student of Gyula Rudnay from 1922 to 1926, then he worked alongside Rudnay as an assistant lecturer at the Academy of Fine Arts from 1927 to 1930. He graduated as an art teacher in 1928. He taught art in various types of schools continually from 1932. He worked as a teacher of the Secondary School of Fine and Applied Arts from 1946 onward, and directed the school between 1958 and 1963. From 1926 his works were displayed regularly at exhibitions. He was a member of the New Society of Artists, the New Artist Union and the National Salon Art Society. In the summers he worked in the colonies of the academy, in Gyöngyös, Mátrafüred, Sümeg, Hódmezővásárhely and Mártély.

From the very beginning he preferred painting landscapes and this internal attraction to such themes grew to maturity during the summer of 1930 that he spent in Nagybánya (Baia Mare, Romania). He worked first as a guest in the colony of artists in Szentendre in 1929, but then he returned to this place year after year. Indicative of this relationship growing more and more intensive, he was elected a member of the Association of the Artists of Szentendre in 1937. His marriage to Lola Gálffy in the same year tied him even more strongly to Szentendre, as his wife was awarded a life-long membership in the Old Colony of Artists. Kántor said about his 'ars poetica' as a painter: "... after leaving the Academy of Fine Arts I tried to break free from the suggestive influence of my master, Gyula Rudnay. Following my search in many directions it was in Szentendre that I discovered the path I have to take. Initially, I saw Cézanne everywhere in this place, and I tried to find my identity through his style. At this time I painted mainly tiny pastel pieces, houses, trees, in rigorous composition, modifying the structure, emphasizing the forms, with few characteristic colours and in a condensed perception. Later on, however, the feeling, the atmosphere, the perspective in space and depth gained more emphasis. It was in this period that I got closer to nature in my colours, too. Then, from the end of the fifties in my efforts I attempted to combine my new artistic interpretation from two kinds of style..."

The impressionistic traits that loosened the rigorousness of composition from the fifties directed Kántor's art to intimate, lyrical representations of the landscape in Szentendre and interiors.