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 GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

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Situation : Welcome » Result of the research
Result of the research Result of the research : 'contro'

Kifwebe mask, Songe people, Democratic Republic of Congo
Kifwebe mask, Songe people, Democratic Republic of Congo
€ 32,000.00
Kifwebe mask, Songye people, Democratic Republic of Congo
Kifwebe mask, Songye people, Democratic Republic of Congo
€ 8,500.00
Female Kifwebe mask, Songye, Democratic Republic of Congo
Female Kifwebe mask, Songye, Democratic Republic of Congo
€ 12,000.00

 

The Authenticity of African Sculptures

by Henri Kamer

The issue of authenticity of African art has been central to collectors for decades.  Henri Kamer, who was president of the International Arts Experts Association at the time, published an outstanding account of the state of the matter in Artes d'Afrique Noire, No. 12 (1974).  The text  that follows is extracted from an English translation of that article, and has been edited further.  The original includes a number of illustrations.  They are not included here because I believe the text suffices without them. 

The original version, including the illustrations, in French and with the English translation, is 

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Pol Pierre Gossiaux
 
Titulaire de la Chaire
d’Anthropologie des systèmes symboliques
et d’Ethnosémiologie de l’Art africain
Université de Liège (Belgium)
 
PP.Gossiaux@ulg.ac.be
 
 
 
 
 
Le Bwame  du Léopard
des
Babembe  (Kivu-Congo)
 
Rituel initiatique et rituel funéraire
 
Avec 52 illustrations
 
 
 
 
 
 
 
          2
     
 
 
 
Table des matières (1ère partie)
 
 
 
 
 
Avant dire. Présentation du Bwamè                                    
 
 
3
Fondements de l’anthropologie
et de l’ethnosémiologie bembe
 
10
Exorciser l’animal
 
Fondements du savoir bembe
 
 
15
Les animaux et la titulature du Bwamè
       
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African Art on the Internet
 
 
 
15th Triennial Symposium on African Art, Arts Council of the African Studies Association, 2011, Wednesday, March 23 - Saturday, March 26, 2011, UCLA, Los Angeles, California
http://www.acasaonline.org/conf_next.htm
Addis Art - Ethiopian Art and Artists Page
Contemporary Ethiopian art and artists - paintings, sculptures and digital art work by students and professionals from Addis Ababa, Ethiopia. University instructor, Getahun Assefa's paintings, drawings, sculpture, digital art. Also work by his brother, Tesfaye Assefa. Based in Addis Ababa, Ethiopia. [KF] http://www.addisart.com/
Addis Art - Nouveau Art from Ethiopia
Artists include Shiferaw Girma and Lulseged Retta. Photographs of each artist's work, a biography, and video. Founded by Mesai Haileleul. [KF] http://www.addis-art.com/
Adire African Textiles - Duncan Clarke
History, background, and photographs of adire, adinkra, kente, bogolan, Yoruba aso-oke, akwete, ewe, kuba, and nupe textiles. The symbolism of images is often provided. One can purchase textiles as well. Clarke's Ph.D. dissertation (School of Oriental and African Studies) is on Yoruba men's weaving. See also the Adire African Textiles blog. Based in London. http://www.adireafricantextiles.com/
Afewerk Tekle
"Ethiopia’s leading artist." Biography, his paintings, sculptures, mosaics, murals, art in the artist's home. Afewerk created the stained-glass windows at the entrance of Africa Hall, headquarters of the United Nations Economic Commission for Africa. "In 1964, he became the first winner of the Haile Selassie I prize for Fine Arts." "In 2000, he was one of the few chosen World Laureates by the council of the ABI on the occasion of the 27th
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Image The Arts of Africa at the Dallas Museum of Art
WALKER  Roslyn Adele
The Arts of Africa at the Dallas Museum of Art   (ISBN-10: 0300138954-ISBN-13: 978-0300138955)
 
Détails sur le produit: Relié: 304 pages - 305 x 229 mm - Editeur: Yale University Press (décembre 2009) - Collection: Dallas Museum of Art Publications - Langue: Anglais
 
Descrizione libro: 
This beautifully illustrated book showcases 110 objects from the Dallas Museum of Art's world-renowned African collection. In contrast to Western 'art for art's sake', tradition-based African art served as an agent of religion, social stability, or social control. Chosen both for their visual appeal and their compelling histories and cultural significance, the works of art are presented under the themes of leadership and status; the cycle of life; decorative arts; and, influences (imported and exported). Also included in this book are many fascinating photographs that show the context in which these objects were originally
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Image PUTCHU GUINADJI - Cavalieri contro la follia
PERONI Pierluigi
PUTCHU GUINADJI - Cavalieri contro la follia
 
Dettagli sul prodotto:
Brossura: 543 pagine, cm 25x25 - ill. col 
Editore: TRIBALEGLOBALE PRIMARY ART, Savona; Edizione: 1 (Giugno 2011)
Lingua: Italiana - Francese - Inglese  - ISBN: 978-88-95677-34-7
 
Descrizione libro:
Introduzione di Giuliano Arnaldi - Fotografie di Francesco Pachì - Grafica di Gianluca Anselmo -Traduzioni: per la lingua francese: Eurologos Srl; per la lingua inglese: Mrs.Eileen Mcdonald - Immagini radiografiche: Antonio Barile, Daniela Giacchino, Fulvio Rosso - Stampa: La Serigrafica Arti Grafiche
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Image African Art in American Collections
ROBBINS M. Warren  &  NOOTER Nancy Ingram
 
African Art in American Collections   (ISBN-10: 076432005X - ISBN-13: 978-0764320057)
 
Descrizione libro: Relié: 616 pages - Editeur: Schiffer Publishing Ltd; Édition: 2 (1 janvier 2004) Langue: Anglais. Hard Cover with dust jacket. 9x12 in. Collector Bookstore is a retailer of new books located in Leavenworth, Kansas. We specialize in price guides and reference books for the antiques and collectibles industry. African art -- with its powerful forms, complex symbolism, and formal inventiveness -- has only recently come to be recognized as one of the great artistic traditions of mankind. This rich tradition is showcased here in a remarkable selection of outstanding works. Nearly 1,600 objects are illustrated, each accompanied by scholarly information on style, usage, meaning, and cultural origin. Featured individually by section are the styles of Western Sudan, the West African Coastal Region, West Central Africa, Central Africa, and Eastern and Southern Africa. A thought-provoking introduction helps readers understand the significance of African art as a form of human creative expression, its relationships to contemporary Western art, and the controversies surrounding it in the world's museums. Newcomers to the field as well as professionals will find many questions answered in the text and captions. FThis comprehensive survey of some 230 styles of African art is an essential reference for scholars, teachers, students, curators, collectors, and
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Image GRIAULE  DIO D'ACQUA: IL RACCONTO DELLA COSMOGONIA AFRICANA
 
GRIAULE  MARCEL
 
DIO D'ACQUA: IL RACCONTO DELLA COSMOGONIA AFRICANA
 
 
 
Editore: RED/STUDIO REDAZIONALE
Collana: UOMINI E DEI - Pubblicazione: 11/1996 - Numero di pagine: 288
 
A guidare il lettore è il singolare incontro di un etnologo con il vecchio saggio Ogotemmeli, un anziano cacciatore cieco che, in una serie di colloqui svoltisi nel 1946, rivela tutto il sistema di pensiero del popolo dogon dotato di una cosmogonia, di una metafisica e di una religione tutt'altro che primitive e narra i miti e le leggende del suo popolo, i Dogon dell'Africa Occidentale. Le parole di questo "cantore" compongono un vero e proprio poema orale sulle origini dell'universo, una cosmogonia africana non lontana dalle grandi cosmogonie classiche. Il libro, pubblicato in Italia per la prima volta nel 1968, è qui riproposto in una nuova edizione nella collana "uomini e dei" curata e diretta dall'antropologo Francesco Paolo
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Arte primero
Las expresiones arte primero y arte primitivo son empleadas para designar las producciones artísticas de las sociedades dichas "tradicionales", " sin escritura " o "primitivas". Por extensión, el término(plazo) designa comúnmente la producción artística tradicional de las culturas no occidentales.
La expresión " arte primitivo ", atada(vinculada) al colonialismo es distintamente despectiva y desde hace algunos años ha caído en desuso en provecho de " arte primero ". Pero esta expresión más valorizante queda controvertida en la medida en que traduciría también un diseño(concepción) evolucionista y ethnocentriste sociedades humanas: las sociedades occidentales producirían un " arte acabado " que se opondría a las " primeras artes ", que serían la obra de los pueblos quedados próximos de un estado arcaico de la humanidad. Además, las formas mayores de arte primero (en África o en Oceania, por ejemplo) distintamente se distinguen de formas mucho más antiguas de arte (arte prehistórico o arte neolítico). Del
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Art premier
Les expressions art premier et art primitif sont employées pour désigner les productions artistiques des sociétés dites « traditionnelles », « sans écriture » ou « primitives ». Par extension, le terme désigne communément la production artistique traditionnelle des cultures non-occidentales.
L'expression « art primitif », liée au colonialisme est nettement péjorative et est depuis quelques années tombée en désuétude au profit d' « art premier ». Mais cette expression plus valorisante reste controversée dans la mesure où elle traduirait aussi une conception évolutionniste et ethnocentriste des sociétés humaines : les sociétés occidentales produiraient un « art abouti » s'opposant aux « arts premiers », qui seraient l'œuvre des peuples restés proches d'un état archaïque de l'humanité. De plus, les formes majeures d'art premier (en Afrique ou en Océanie, par exemple) se distinguent nettement de formes d'art beaucoup plus anciennes (art préhistorique ou art néolithique). Du point de vue chronologique, l'expression est donc aussi contestable.
Si cette vision est largement remise en cause aujourd'hui, les expressions subsistent notamment dans les pays anglo-saxons. L'appellation « Musée des arts premiers », initialement envisagée, a été abandonnée pour désigner le Musée du quai Branly.
Les expressions « art sauvage », « art tribal », « art ethnographique », « art traditionnel » ou « art archaïque » sont également utilisées, sans être
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‘African Vision: The Walt Disney-Tishman African Art Collection’
 
This female figure, made of ivory and standing 37 inches tall, was made in the early Nineteenth Century by Edo peoples in the Benin kingdom court style, and was probably intended for an altar to a queen mother. It is one of the first two objects purchased by Paul and Ruth Tishman in 1959. "Ivory can be almost universally interpreted as a symbol of importance and wealth,” says exhibition curator Bryna Freyer.
WASHINGTON D.C.:Most Americans know little about the vast and diverse continent of Africa, much less the arts created there. Dark and primitive, the arts of the African peoples reflect the rituals of life, stripped to the most basic interpretive forms both conceptually and artistically.
Celebrating the arts of Africa and the profound role that they have played in molding Twentieth Century Abstraction and Modernist art in the "West" is the Smithsonian's newest exhibition, "African Vision: The Walt Disney-Tishman African Art Collection." It is on view through September 7, 2008, at The Smithsonian Institution's National Museum of African Art (NMAA).
 
"African Vision" showcases 88 outstanding artworks, part of a larger collection donated to the NMAA, that represents the largest gift of sculpture in the museum's history.
 
In 1959, Paul and Ruth Tishman began their collection with the purchase of two pieces of art from the Benin kingdom — an early Nineteenth Century ivory female figure standing 37 inches tall, made in the court style by the Edo peoples, and a 28-inch-tall, Eighteenth Century copper alloy mask that was worn by a divine-healer in masquerade
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Enchères et émotions
AuteurRolande Bonnain-Dulon du même auteur

École des hautes études en sciences sociales
EHESS
Centre de recherches historiques
54, bd Raspail
75006 Paris

Au-delà de leur public bien sûr, les ventes aux enchères passionnent les sociologues et les ethnologues et ce, à juste titre [Matras-Guin, 1987 ; Quémin, 1993 ; Rémy 1990]. Grâce à eux, on a compris pourquoi cette pratique sociale qui mêle l’économique au symbolique, le rationnel aux émotions, l’individuel à une certaine forme de collectif attire tant de gens qui vont là comme au spectacle, par curiosité, sans avoir toujours l’intention de participer aux enchères. Ces chercheurs nous ont également montré le rôle que ces lieux ont joué sur la constitution des communautés diffuses et temporaires, la mise en place de rituels profanes, le vécu de la concurrence, le rapport aux objets, le métier de commissaire-priseur.
2 Avec cet article, nous visons à montrer la forte incidence du lieu et les effets de sa représentation sur l’existence, les pratiques et les particularités d’un certain monde[1] [1] On utilise ici le terme « monde » dans le sens que lui...
suite, celui des collectionneurs d’arts premiers[2] [2] L’expression « arts premiers » désigne ici, sans...
suite dont les objets acquièrent lentement le statut d’art classé, en particulier en ces temps où le Louvre les accueille.
3 Aujourd’hui, les anciennes puissances coloniales ne se livrant plus à des guerres de conquête, une pièce classée dans les arts premiers n’a guère

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Image Senoufo

SENOUFO

Issus du "melting pot" ivoirien, les Sénoufo ( littéralement ceux qui parlent le séné ) se déploient jusq'uau Mali. Leur diversité ethnique en explique le

foisonnement artistique dont les masques comme le statuaire combinent à la fois les fonction de divertissement ou de contrôle social ( confréries secrètes,

guérisseurs, sorciers..).

Si le statuaire insiste sur la pureté de la forme et la mixité de divers matériaux ( bois, tissu, fibre végétale, pigments purs), le masque vise à s'approprier

les forces multiples de l'anthropomorphisme comme donnée fondamentale, soit le symbole de l'incarnation du monde des esprits.

C'est dans la perception de cette force que s'exerce le talent des artistes.

Armand Auxiètre, Directeur de la Galerie " L'oeil et la Main " a choisi de présenter pour cette exposition un masque casque Sénoufo qui reprend les critères essentiels de la création plastique Sénoufo qui se partage entre intellectualisme de la ligne et sensualité du modelé organisant ainsi des composition d’un intense dynamisme.

** Masque casque, Sénoufo, Côte d’Ivoire, bois, patine d’usage, métal

Ce masque casque se compose d’un oiseau stylisé affublé de cornes. Cette association corne/oiseau regroupe deux éléments essentiels de la mythologie Senoufo : l’oiseau qui avec son ventre arrondi et son long bec symbolise la procréation et le buffle, évoqué par les cornes, qui aurait transmis aux sénoufo les secrets des plantes guérisseuses. Cette association très rare donne à cette pièce une valeur symbolique inestimable renforcée par la pureté des lignes de la sculpture.

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Image Songye people

Linguistically, the Songye form part of the Luba, world, itself part of the Bantu group. Indeed there is a century old inter relation between the Songye and Luba, and they therefore share many cultural traits. Some art forms are part of this, shared heritage, according to the oral tradition the founding chieftains of the first luba kingdom, were of songye origins, and it is the Songye who introduced the idea of social stratification to the Luba and consequently the first luba chieftains are said to be of Songye Ancestry.

 

ENVIRONMENT

The Songye used to live in a forest environment till the end of the first half of the second millennium. Slowly their habitat became more savannah-like. We can still find traces of this former forest habitat in some of the art they produce. For example the costume worn with the Kifwebe mask must be entirely made from products originating in the forest from such as bark, pelts fibers etc. Today the Songye mainly live in the savannah but pockets of forest remain in their territory.

The Songye occupy a very large area in the north of the southeastern quadrant of the republic democratic of Congo.

Due to the vastness of the songye territory, it is obvious that regional stylistic, iconic and typological, exist in the ritual art produced. Some of these are the result of cross influences with their immediate neighbors.

 

NEIGHBORS

To the North of the Songye territory, live the Sungu, Tetela, the western Kusu. In the northwest we will find a few luba chiefdoms. To the west the Luntu, Luba – kassaï Kete and Binji peoples resides; one can even find pockets of Chokwe people in the southwest of Songye territory. To the south of the Songye we find a variety of luba speacking, polities, the same is true, for eastern frontier where in addition to the eastern kusu, we find Luba, Hemba, Kunda, Lumbu and Buyu people. Judging from their

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Image yaka

Arts of Africa first Black Arts Spring 1981 No. 77
When we examine the significance of an African mask, we do not seek to know what the "message" it provides, by virtue of some essential notion of disguise and by his presence, but rather what kind of continuum it belongs. The masks are at the confluence of pictorial traditions, oral and functional none appears (under secular unable to recognize the subjects and even less discernible. The understanding of pictorial code used requires not only a review but a review of developed components as needed through the original context. Let us offer an example of the image with respect to the buffalo in the region of Zaire Kwango-Kwilu South West (1).
Synceros caffer, the largest of African cattle is a massive animal, black, cropped hair, measuring 1.50 m at the shoulder and weighing nearly a ton (900 kg.) (Fig. 1). Its heavy horns have a spacing of one meter, are curved downward and inward and form large lumps to their bases. This animal, originally occupied the central, eastern and southern Africa, frequenting the open plains, open woods and river beds and marshes bordered by reeds. Commonly preview herds of a dozen to a hundred heads, he used to graze and graze the early morning and again at dusk, seeking shade during the hottest hours but sometimes moving at night . Females do not carry a calf for about eleven months.

Considered peaceful, was injured when he can become, for hunters, the most dangerous animal of any big game on the continent (Fig. 2). He is known for his

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Image Exposition Fleuve Congo - les ethnies

The works are presented in a geographical journey of productions ranging from West to East, both from Gabon to Congo:

* The Fang peoples and related
* The Kwele
* The Mbede-Kota
* The Tsogho, Galwa, Aduma, Vuvi and Teke (Tsaayi)
* The Ngbaka, and Ngbandi Ngombe
* The Mbole, Yela, Metoko, Komo, Jong, Lengola and Kela
* The Lega and Bembe

THE FANG:

THE KWELE: they live on the northern border of the Republic of Congo, and have used a type of mask called Ekuk, they are flat masks, which have incised eyes, often a white face in a heart-shaped nose triangle-shaped eyes and coffee bean. these masks were hung in homes rarely worn during ceremonies, initiation Bwetes worship, their function was to conduct a village to enable forces are beneficial Bwetes capita.

THE KOTA: Living in the eastern part of Gabon, on the border with the Republic of Congo, Kota, include a number of tribes, such as Mahongwe the Sango, the Obamba, and Shamay, who practice the same rituals and shared cultural traits. They probably migrated southward during the 18th, and now live in the valley of the river, Ogonoué in a forest environment. from their economic resources, sutout hunting and agriculture. Kota the past, had the habit of leaving their dead exposed to the elements in the forest. Under the influence of neighboring tribes, they began to bury their cefs and keep their bones (mainly the skull) to place them with

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The group Ashanti are one of the ethnic groups of all Akan in Ghana.

They speak Twi is a dialect of Akan belonging to the Kwa group of languages.
Flag of the Ashanti


Geographical
Empire Asante in Ghana

Asante federation grows in the thirteenth century. Kumasi is the capital . In the nineteenth century, the civilization reached its peak and occupies nearly 70% of modern Ghana.

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Les Dogons sont un peuple du Mali, en Afrique de l'Ouest. Leur population totale au Mali est estimée à 700 000 personnes[1]. Ils occupent la région, nommée Pays Dogon, qui va de la falaise de Bandiagara au sud-ouest de la boucle du Niger. Quelques Dogons sont installés dans le nord du Burkina Faso, d'autres se sont installés en Côte d'Ivoire.

Les Dogons sont avant tout des cultivateurs (essentiellement du mil) et des forgerons. Ils sont réputés pour leur cosmogonie et leurs sculptures. La langue parlée par les Dogons est le dogon qui regroupe plusieurs dialectes. Il existe aussi une langue secrète, le sigi so, langue réservée à la société des masques. Les Dogons sont liés avec l’ethnie des Bozos par la parenté à plaisanterie. Dogons et Bozos se moquent réciproquement, mais parallèlement se doivent assistance.
Sommaire

Histoire

Les Dogons seraient venus du Mandé, région située au sud-ouest du Mali au XIVe siècle pour éviter l'islamisation.[2]), le plateau (région de Sangha) et la plaine.[3] Ils se seraient installés à Kani Bonzon avant de se disperser sur trois sites que sont la Falaise de Bandiagara (site mis en 2003 sur la liste mondiale du patrimoine de l'UNESCO. Cette falaise était alors habitée par les Tellem, portant aussi le nom de kurumba. D'après les Dogons, les Bana ont précédé les Tellem. Même s'ils ont longtemps subi la domination des divers peuples ayant créé de grands empires ou royaumes, les Dogons ont toujours su conserver leur indépendance à cause de la difficulté

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Cabinet of curiosities
 
"Musei Wormiani Historia", the frontispiece from the Museum Wormianum depicting Ole Worm's cabinet of curiosities.A Cabinet of curiosities was an encyclopedic collection in Renaissance Europe of types of objects whose categorical boundaries were yet to be defined. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings) and antiquities. "The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction." Of Charles I of England's collection, Peter Thomas has succinctly stated, "The Kunstkabinett itself was a form of propaganda"[2] Besides the most famous, best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe, formed collections that were precursors to museums. They were also known by various names such as Cabinet of Wonder, and in German Kunstkammer or Wunderkammer (wonder-room).

 History
The term cabinet originally described a room rather than a piece of furniture. The classic style of cabinet of curiosities emerged in the sixteenth century, although more rudimentary collections had existed earlier. The Kunstkammer of Rudolf II, Holy Roman Emperor (ruled 1576-1612), housed in the Hradschin at Prague was unrivalled north of the Alps; it provided a solace and retreat for contemplation that also served to demonstrate his imperial magnificence and power in symbolic arrangement of their display, ceremoniously presented to visiting diplomats and magnates. Rudolf's uncle, Ferdinand II, Archduke of Austria also had a collection, with a special emphasis on paintings of people with interesting deformities, which remains

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STRENGTH AND MEASUREMENT

The discovery of "primitive art": an art of strength
Shapes and shape functions
Deities and ancestors
The living wood

Force and Measurement

Develop an aesthetic of black Africa is seen as a risky business in many ways. Is it legitimate to isolate these objects, that today we call art, the general framework of their relations and their cultural constraints? Can we submit to a test that has never existed in the minds of their creators? And can we finally see in this art - if we 'take on this term - a uniform phenomenon, despite the wide variety of both regional and local styles we offer this huge continent, following lengthy Historical developments often poorly understood? Finally, remember that this approach excludes large regions, including Africa white, that is to say the Mediterranean area with its ancient history, the eastern and southern Africa whose pastoral peoples have given rise to cultures almost without images, and finally these hunting societies, which, even in our time have not passed the stage of evolution of prehistoric rock paintings which are the main evidence of an artistic production that appears at various points the continent. Similarly, we must exclude from our contribution to the aesthetics of black African art the old feudal societies, including Benin. Our discussion is therefore limited to large areas farmers, the true cradle of

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