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GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

Art Gallery the Eye and the Hand
Result of the research Result of the research : 'familiar'

La promotion des arts africains : survol historique d'un processus
En Occident, l’acquisition d’objets originaires d’Afrique remonte à l’époque de la Renaissance. Les États européens entament alors des expéditions commerciales vers d’autres contrées à la recherche de produits nouveaux.
Le discours sur les objets évolue selon le contexte idéologique et scientifique de l’Occident depuis le XVe siècle jusqu’à nos jours. Les pièces acquises par les Européens dans les sociétés africaines subissent alors 3 phases majeures d’appropriation et d’interprétation : (1) comme curiosité (XVe – XVIIIe siècle), (2) en tant qu’objets ethnographiques ensuite (XIXe siècle) et finalement (3) comme œuvres d’art (à partir du XXe siècle).
LES EUROPÉENS EN AFRIQUE 
Le contexte historique de l’Europe du XVe et du XVIe siècle présente les premières manifestations idéologiques ayant participé à l’installation des colonies sur le continent africain. La montée de la classe bourgeoise dans le système économique lui permet d’imposer ses idées dans le développement des mentalités, principalement par les valeurs du marché économique et du progrès technique, vecteur de richesse. Ainsi, la découverte des autres continents est motivée par la recherche de nouveaux produits.
Les premières expéditions européennes vers le continent africain ont un caractère commercial indéniable et, elles remontent au XVe siècle. Elles ont d’abord lieu sur les côtes et permettent l’établissement de
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Image Animals in African Art: From the Familiar to the Marvelous
ROBERTS F. Allen
 
Animals in African Art: From the Familiar to the Marvelous
 
Détails sur le produit:
Relié: 192 pages - Editeur: Prestel (1995) - Collection: African, Asian & Oceanic Art - Langue: Anglais 
ISBN-10: 3791314556 - ISBN-13: 978-3791314556
 
Descrizione libro: 
From the Familiar to the Marvelous. With a foreword by James Fernandez. New York: The Museum for African Art & Prestel, Munich 1995, 30.0 x 23.0cms, 192pp, colour illusts, very good+ paperback (exhibition catalogue) This book explores 125 Western & Central African representations of animals in various media and of exceptional aethetic quality. Roberts argues that they are useful metaphors for people's predicaments and mirror human
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Full text, digitalised by Lies Strijker and presented by the .Centre Aequatoria
Notes on the digitalisation and presentation


[Cover]

[1: empty]

[2]
IMPRIMI POTEST
Kanzenze, 12-2-1952
P. Simeon, o.m.f.
Sup. Reg.

IMPRIMATUR
Luabo-Kamina, 30-5-1952
+VICTOR PETRUS KEUPPENS
Vic. Ap. de Lulua


[3]

BANTU PHILOSOPHY
by
The Revd. Father PLACIDE TEMPELS

(Translated into English from "La Philosophie Bantoue" the French Version by Dr. A. Rubbens of Fr. Tempels' original work. The Revd. Colin King, M.A. Translator.)

With a Foreword to the English Edition by Dr Margaret Read, C.B.E.Ph. D.,M.A., formerly Professor of Education and Head of the Department Of Education in Tropical Areas, The

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WHAT IS AFRICAN ART? 

SUPPORT NOTES FOR TEACHER

Learning & Information Department 
Telephone +44 (0)20 7323 8511/8854 
Facsimile +44 (0)20 7323 8855 
education@thebritishmuseum.ac.uk 
Great Russell Street 
London WC1B 3DG 
Switchboard +44 (0)20 7323 8000 
www.thebritishmuseum.ac.uk 
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THE NEW CONGO COLLECTION

During the summer of 1912 the Museum acquired by purchase a collection of about two thousand 
specimens consisting of weapons, utensils, ornaments, clothing and images from a number of African 
tribes living in the Congo basin.  This collection was, for the most part, obtained from the natives by the 
well-known German traveler, Frobenius.    

in a way which served at least to show what a variety of artistic activities and  what a rich  culture  the in 
a way which served at least to show what a variety of artistic activities and  what a rich  culture  the 
native Congo peoples possess.     
native Congo peoples possess.     


Visitors  had  an  opportunity   of   admiring the wonderful carved wooden boxes and cups,
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Les Statues meurent aussi est un documentaire-court métrage français réalisé par Chris Marker, Alain Resnais et Ghislain Cloquet sorti en 1953. Conseiller artistique : Charles Ratton.

Il fut commandité par la revue panafricaine Présence africaine. Partant de la question « Pourquoi l’art nègre se trouve-t-il au musée de l’Homme alors que l’art grec ou égyptien se trouve au Louvre ? », les deux réalisateurs dénoncent le manque de considération pour l'art africain dans un contexte de colonisation. Le film est censuré en France pendant huit ans en raison de son point de vue anti-colonialiste.

« Quand les hommes sont morts, ils entrent dans l'histoire. Quand les statues sont mortes, elles entrent dans l'art. Cette botanique de la mort, c'est ce que nous appelons la culture.

C’est que le peuple des statues est mortel. Un jour, nos visages de pierre se décomposent à leur tour. Une civilisation laisse derrière elle ces traces mutilées comme les cailloux du

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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 African Art Exhibition of 1923

This is a copy of the catalogue of the exhibition of 1923 in Brooklyn Museum, In 1903 Stewart Culin became the founding curator of the department of ethnology at the museum of the Brooklyn institute of arts and sciences, now the Brooklyn museum Culin a self taught ethnologist built the foundation of four curatorial collections for the museum, acquiring objects representing African Asian native American and estaern European culture

 

 

 

Culin was among the first curator to recognize museum installation as an art form, he was also among the first to display ethnological as art objects, not as ethnographic specimens. This approach is evidenced in his exhibition “primitive negro art”

 

 

 

The exhibition opened in april 1923 and displayed African objects he had acquired in Europe from dealers. Along with his colleagues Culin set the parameters for cultural representation in museum through his collection decisions and innovative installations.

 

 

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Image 1923 - Brooklyn museum

This is a copy of the catalogue of the exhibition of 1923 in Brooklyn Museum, In 1903 Stewart Culin became the founding curator of the department of ethnology at the museum of the Brooklyn institute of arts and sciences, now the Brooklyn museum Culin a self taught ethnologist built the foundation of four curatorial collections for the museum, acquiring objects representing African Asian native American and estaern European culture

 

Culin was among the first curator to recognize museum installation as an art form, he was also among the first to display ethnological as art objects, not as ethnographic specimens. This approach is evidenced in his exhibition “primitive negro art”

 

The exhibition opened in april 1923 and displayed African objects he had acquired in Europe from dealers. Along with his colleagues Culin set the parameters for cultural representation in museum through his collection decisions and innovative installations.

 

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Primitive arts: political nomenclature or singular art?

Eugene Berg
Diplomat, former ambassador to Namibia, Botswana and Fiji. Author of 'Non-alignment and
New World Order '(PUF, 1980),' The International Politics since 1955 '(Economica, 1990) and' Chronology
internati''o''nale: 1945-1997 '(PUF, "Que sais-je?", 4th ed, 1997). Works since No. 19-20 to review work
made in the journal 'The Banquet'.

The inauguration of the Musée du Quai Branly, just as the opening
second France-Oceania summit, was a highlight of the cultural
quinquennium of Jacques Chirac. He will no doubt what would have been the Centre
Beaubourg Georges Pompidou, Musée d'Orsay for Valery Giscard
d'Estaing and Francois Mitterand National Library for. Expresses this
place that has done since its opening subject to real and sustained enthusiasm
People and challenges no less significant part of the community
scientific and museum? As written immediately Berenice
Geoffroy-Schneiter, this is "no accident that our west in search of
Spirituality landmarks and turns to these desperate travelers
the invisible. "

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African art

African art constitutes one of the most diverse legacies on earth. Though many casual observers tend to generalize "traditional" African art, the continent is full of peoples, societies, and civilizations, each with a unique visual special culture. The definition also includes the art of the African Diasporas, such as the art of African Americans. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.

    * Emphasis on the human figure: The human figure has always been a the primary subject matter for most African art, and this emphasis even influenced certain European traditions. For example in the fifteenth century Portugal traded with the Sapi culture near the Ivory Coast in West Africa, who created elaborate ivory saltcellars that were hybrids of African and European designs, most notably in the addition of the human figure (the human figure typically did not appear in Portuguese saltcellars). The human figure may symbolize the living or the dead, may reference chiefs, dancers, or various trades such as drummers or hunters, or even may be an anthropomorphic representation of a god or have other votive function. Another common theme is the inter-morphosis of human and animal.

Yoruba bronze head sculpture, Ife, Nigeria c. 12th century A.D.

    * Visual abstraction: African artworks tend to favor visual abstraction over naturalistic representation. This is because many African artworks generalize stylistic norms. Ancient Egyptian art, also usually thought of as naturalistically depictive, makes use of highly abstracted and regimented visual canons, especially in painting, as well as the use of different colors to represent the qualities and characteristics of an individual being depicted.

    * Emphasis on sculpture: African artists
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Treasures marks the National Museum of African Art's 25th anniversary as a Smithsonian museum. The first in a new exhibition series, Treasuresis an old-fashioned show about African art, reminiscent of the exhibitions that represented avant-garde opinions of the early 20th century. In 1926, Paul Guillaume, Parisian connoisseur and collector, cautioned readers to defer learning about the history and meaning of African art until they had studied African art purely as an art form, because to do otherwise "tends to obscure one's vision of the objects as sculpture."

I chose the familiar--traditional sculpture--to reveal aesthetic variances, to see African art as form, not function. Treasures, therefore, is about visual exploration and aesthetic discovery. Our understanding of African art is prescribed by what we see, and often, what we see is based on works displayed in museums. So, "Treasures" is just that--a sampling that gives us a peek into the realm of African art.

Westerners and Africans alike revere well-made form. Each admires skillful technique and execution, exquisitely rendered forms, pattern, balance, symmetry, surface treatments and a sense of completeness. African artists, however, strive to portray more than that. As metaphor or symbol, their artworks embody the world of ideas and beliefs--confirming their notions about themselves, life and death, the universe and the spiritual realm. Yet, despite our cultural presumptions that separate art from life, often separating aesthetics from meaning, and our ignorance of or indifference to what it means and how it is used, African art astonishes.

An eclectic display of sculptures from East, West, Central, and southern Africa created between the 15th

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Tangle of ropes, accumulation of disparate elements, small heaps unspeakable, are the objects of divination in Africa in this book. These figures of the formless, sometimes perceived as loathsome and strange, are much more familiar we suppose at first, and do not speak of anything but life and countless son's existence, which continue to establish and discard. It is not that of any tribute to Africa and mysterious fetish, but to honor human creativity and variety of forms it knows borrow.

Exposure. Musée du Quai Branly (2009) Recipes of the Gods: the fetish aesthetic Actes Sud € 19.90
Group under the leadership of Jacques Kerchache African Art & Citadels Mazenod € 199.00
Faik-Nzuji, Clementine M. African Arts: signs and symbols boeck From € 42.00
Collective Imprints of Africa: African Art, Modern Art Workshop € 9.91
Basson, Mbog Aesthetics of African Art: The Symbolic and complexity Harmattan € 21.00
Diagne, Souleymane Bachir Leopold Sedar Senghor, African art as philosophy: an essay Riveneuve € 15.00
Exposure. Afrikamuseum (2007-2008) Ubangi, art and culture in the heart of South Africa Acts € 99.95
Alain Lecomte art, magic and medicine in Black Africa Gallery Alain Lecomte € 35.00
Exposure. Dapper Foundation (2007-2008) Musée Dapper Pet € 45.00
Exposure.

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Mali

Le Mali est un pays d'Afrique de l'Ouest ayant des frontières communes avec la Mauritanie et l'Algérie au nord, le Niger à l'est, le Burkina Faso et la Côte d'Ivoire au sud, la Guinée au sud-ouest et le Sénégal à l'ouest. Le point le plus haut est le Hombori Tondo (1 155 m) situé dans la partie centrale du pays.

Ancienne colonie française, le Mali (alors République soudanaise) devient indépendant en 1960. Sa capitale est Bamako, forte d'une population de 1 430 000 d'habitants en 2006.

Histoire

Le Mali possède une histoire très riche et relativement bien connue. Cinq empires ou royaumes importants s’y sont succédé : l’empire du Ghana, l’empire du Mali, l’empire songhaï, le royaume bambara de Ségou et l'empire peul du Macina.

Suite à l'invasion de la France en 1883, le Mali devient une colonie française sous le nom de Soudan français. Le 4 avril 1959, le Sénégal et le Soudan se regroupent pour former la Fédération du Mali, qui accède à l'indépendance le 20 juin 1960. Deux mois plus tard, le Sénégal se retire de la fédération et proclame son indépendance. Le 22
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Maurice de Vlaminck

Maurice de Vlaminck. The River Seine at Chatou, 1906
Born     4 April 1876(1876-04-04)
Paris, France
Died     11 October 1958 (aged 82)
Nationality     French
Field     Painting

Maurice de Vlaminck (4 April 1876 – 11 October 1958) was a French painter. Along with André Derain and Henri Matisse he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense color.


Maurice de Vlaminck was born in Paris to a family of musicians. His father taught him to play the violin.He began painting in his late teens. In 1893, he studied with a painter named Henri Rigalon on the Ile de Chatou. In 1894 he married Suzanne Berly. The turning point in his life was a chance meeting on the train to Paris towards the end of his stint in the army. Vlaminck, then 23, met an aspiring artist, André Derain, with whom he struck up a life-long friendship. When Vlaminck completed his army service in 1900, the two rented a studio together for a year before Derain left to do his own military service. In 1902 and 1903 he wrote several mildly pornographic novels illustrated by Derain.He
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Image Tristan Tzara
Tristan Tzara

Born     April 4 or April 16, 1896
Moineşti, Kingdom of Romania
Died     December 25, 1963 (aged 67)
Paris, France
Pen name     S. Samyro, Tristan, Tristan Ruia, Tristan Ţara, Tr. Tzara
Occupation     poet, essayist, journalist, playwright, performance artist, composer, film director, politician, diplomat
Nationality     Romanian, French
Writing period     1912–1963

            Guillaume Apollinaire, Henri Barzun, Fernand Divoire, Alfred Jarry, Jules Laforgue, Comte de Lautréamont, Maurice Maeterlinck, Adrian Maniu, Filippo Tommaso Marinetti, Ion Minulescu, Christian Morgenstern, Francis Picabia, Arthur Rimbaud, Urmuz, François Villon, Walt Whitman

Influenced

            Louis Aragon, Marcel Avramescu, Samuel Beckett, André Breton, William S. Burroughs, Andrei Codrescu, Jacques G.
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African traditional masks

There are an enormous variety of masks used in Africa. In West Africa, masks are used in masquerades that form part of religious ceremonies enacted to contact with spirits and ancestors.

The Yoruba, Igbo and Edo cultures, including Egungun Masquerades and Northern Edo Masquerades. The masks are usually carved with an extraordinary skill and variety by artists who will usually have received their training as an apprentice to a master carver - frequently it is a tradition that has been passed down within a family through many generations. Such an artist holds a respected position in tribal society because of the work that he/she creates, embodying not only complex craft techniques but also spiritual/social and symbolic knowledge. African masks are also used in the Mas or Masquerade of the Caribbean Carnival.

African masks are made from different materials: wood, bronze, brass, copper, ivory, terra cotta and glazed pottery, raffia and textiles. Some African masks are colourful. Many African masks represent animals. Some African tribes believe that the animal masks can help them communicate with the spirits who live in forests or open savannas. People of Burkina Faso known as the Bwa and Nuna call to the spirit to stop destruction. The Dogon of Mali have complex religions that also have animal masks. Their beliefs are in three main cults - the Awa, cult of the dead, Bini, cult of communication with spirits and Lebe, cult of earth and nature. These three main cults nevertheless use seventy-eight different types of masks. Most of the ceremonies of the Dogon culture are secret, although the antelope dance is shown to non-Dogons. The antelope masks are rough rectangular boxes with several horns coming out of the top. The Dogons are expert agriculturists and the antelope symbolizes a hard working farmer.

Another culture that has a very rich agricultural tradition is the
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Black African Literature
Modern literature of Black Africa lies at the confluence of various trends: its
own traditions and diverse, the impact of Islamic and Arab worlds;
the pervasive influence of European colonialism and Christianity. Africans
have been particularly prolific since the Second World War;
using French, English, Portuguese and more than forty African languages, they
made up of poetry, fiction, drama, and invented forms of writing
for which there is no description in the European literary world. Their
works portray the modern political and social reality, and focus on
value systems, whether or not African. At the same time, their writings
are based on indigenous traditions and world views typically
Africa.
Long before Europeans arrived, even before the development of writing,
peoples of sub-Saharan Africa have expressed their thoughts in an artistic manner,
their feelings and concerns the deepest in the form of myths,
legends, allegories, parables and stories, songs and chants from
poems, proverbs, riddles and theater. Some traditional forms of
oral literature have survived until today, while new forms do
cease to

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Africa under colonial rule, 1880-1935

Research Director
Professor A. A. Boahen (Ghana)

In February 1976, in Nigeria, a man was arrested at a police checkpoint between Ibadan and Lagos. He was carrying two bags full of bronze sculptures and wood on suspicion of having stolen it affirmât well as the owner. Upon inquiry, the man telling the truth. Recently converted to Islam, he lived and worked in Ibadan at a community center. The effigies of deities carved Yoruba he was carrying had been brought in Ibadan, like many others, by migrant workers to satisfy the spiritual aspirations of these artisans, shopkeepers, civil servants and other migrant workers in their temporary residence. But the leader of the community, having converted to Islam, began in turn to convert their neighbors. Converted in his turn, the suspect heard himself served as symbols of their ancient faith were to disappear to allow the community center to become a dwelling worthy of the spiritual presence of Allah. Unable to consider destroying these objects, he resolved to return to his village, place of origin, where they have since been resettled.

This incident is a perfect example of the evolution of cultural forms and their concrete manifestation and at the same time, the survival or the renewal of cultural values from specific forms of domination, whether of a religious or more clearly social. What remained true in 1976 was even more common during this period particularly dramatic external domination of Africa, which saw the submission of an entire people, its social

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