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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

Art Gallery the Eye and the Hand
Situation : Welcome » Result of the research
Result of the research Result of the research : 'ibeji'

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 Enciclopedia degli Ibeji
POLO Fausto
 
Enciclopedia degli Ibeji
 
Dettagli sul libro:
 
Copertina rigida a colori in cartone plastificato - Formato cm 24 x 31 – spessore 5 cm - 660 pagine in carta patinata - 510 tavole a colori a piena pagina di Ibeji, singoli o in coppia - 19 tavole a colori con dettagli e particolari di Ibeji - 17 cartine a colori a piena pagina - ISBN: 1606438158 / ISBN -13: 9781606438152 
Testo in inglese o francese o italiano o tedesco - Edito e distribuito da Ibeji Art
POLO Fausto - Enciclopedia degli Ibeji
Présentation de l'éditeur
 
 
 
 
 
Descriptions du produit:
 
 
Présentation de l'éditeur
 
 
Il “Catalogo degli Ibeji” portava alla identificazione del luogo di origine di ogni Ibeji sulla base di alcuni particolari scultorei incisi sulla statuetta.
L’”Enciclopedia degli Ibeji” porta invece alla identificazione del luogo di origine ritrovando, tra le oltre 500 foto di Ibeji proposte, la foto dell’Ibeji simile al vostro. 
Fausto Polo ritiene che i validi scultori di Ibeji sono stati alcune centinaia, e li quantifica in un numero compreso tra i trecento ed i quattrocento. 
E gli scultori di Ibeji, come del resto la maggior parte degli scultori tribali, si sono sostanzialmente ripetuti nel tempo, facendo e rifacendo quasi sempre lo stesso modello.
Quindi è essenziale disporre di un libro che riporti le fotografie di Ibeji scolpiti dalla maggior parte degli scultori Yoruba, che hanno operato in un arco di tempo compreso tra il 1830 e
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Image CATALOGUE OF THE IBEJI: (two volumes)
POLO Fausto, DAVID Jean
 
CATALOGUE OF THE IBEJI: (two volumes)
 
 
Dettagli sul libro:
 
Galerie Walu 2001 (Vol. I), 2005 (Vol. II), 2005. Volume I: 260 pages, 150 pages of color photographs, 2 maps. volume II: 295 pages, 205 pages of color photographs, 2 maps. The pages of each volume are punched, and have bee.n inserted in a decorated, hard board, 4-ring
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Image Ibeji: Le culte des jumeaux Yoruba
CHEMECHE George, John Pemberton III - John Picton - Lamidi O. Fakeye
 
Ibeji: Le culte des jumeaux Yoruba
 
 
Détails sur le produit:
Relié: 335 pages - Editeur: Cinq Continents (1 octobre 2003) 
Langue: Français - ISBN-10: 887439084X - ISBN-13: 978-8874390847
CHEMECHE George - John Pemberton III - John Picton - Lamidi O. Fakeye - Ibeji: Le culte des jumeaux Yoruba 
Descriptions du produit
 
 
 
 
 
Descriptions du produit:
 
 
Quatrième de couverture
Dans le cadre de leurs études menées sur l'art Yoruba, nombre de chercheurs ont souligné l'importance accordée à la représentation de la gémellité ire ibeji. La diversité des statuettes exécutées dans les limites relativement étroites de cette forme d'art est tout simplement extraordinaire. A travers les milliers de figures ibeji découvertes dans le pays Yoruba, se dessinent les nombreuses personnalités qui ont choisi de traiter ce même sujet. 
Dans l'histoire de la sculpture figurative africaine, les artistes Yoruba se distinguent par leur production importante et par la grande variété des objets utilisés à des fins domestiques et rituelles: portes et piliers de véranda, représentations des nombreuses divinités (prisa) du panthéon Yoruba, masques de danse de la fête d'Egungun, ou des rites Gelede et Epa. Lorsque des jumeaux meurent et que les parents souhaitent hongrer leur mémoire, les sculpteurs créent des figurines en bois
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Artists Abomey

dialogue on an African Kingdom

Mezzanine East
Tuesday 10 November 2009 to Sunday, January 31, 2010
Commission: Gaëlle Beaujean, head of collections Africa Branly

with the collaboration of Joseph Adande, art historian at the University of Abomey and Ahonon Leonard, manager and curator of the site of the royal palaces of Abomey


This exhibition presents 82 works through graphics and 8 elders, artists of the kingdom of Dahomey (1600-1894), in present-day Benin.

Its purpose is to present their works but also to question their role and status within society danhoméenne, and more specifically in the capital Abomey. Indeed, the artists chosen by the king, enjoyed great privileges while being constrained by their allegiance. The exhibition will explore their creations through the different functions of art in Abomey.

It is also to involve artists and families of artists in each type of objects presented. This new approach is the result of a research conducted by the research team, which resulted in an award-sometimes very finely certain objects.

The exhibition will last a double look at the works presented: the country of origin (through the participation of two scientists from Benin) and the French commissioner.
route of exposure

After an introductory space with an old map and a genealogy of the kings

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Image Motherhoods

MOTHERHOODS

 

ART GALLERY L'OEIL ET LA MAIN

41 RUE DE VERNEUIL 75007 PARIS

 EXHIBITION FROM THE 4TH OF JUNE TO THE 30TH OF SEPTEMBER 2009

 WWW.AFRICAN-PARIS.COM


The image of the mother carrying her child is very present in Westerner imaginary, reflecting the importance of the woman not only in her wife role, but also as a mother. In addition to their social and economic importance, the African mothers also have a quasi-magic capacity. The birth is indeed regarded as a godsend, because this is the child who later will take care of his/her parents, become old, and will work for them as they worked for him. Moreover, in many cultures, the woman is often a priestess specialist in the rites and a person in charge of the worship, and many spirits are female ones. This fact partly explains the importance of the female image in the African sculpture. Although a child is raised by the members of the family extended, the link between him/her and his/her mother remains very strong, especially at the period of early childhood, the carved works presented at the time of this exhibition are a proof of that fact. Motherhood represents the female principle par excellence. But are african motherhoods statues of mother with child or statues of mother and child? Which are the relationships between the mother and the child in a sculpture of motherhood?

Very often mother and child do not set up a
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For children, play is a way to project their future social role. Traditionally, Africa, the slingshot can practice hunting, dolls prepare to be a mother. But in Africa, the same objects are sometimes used by adults. The "toys" to load defaults and then become ritual objects decorated accordingly. They are then intended to deal with the spirits of the afterlife that are everywhere. It is true of "dolls" made by women who want a child. These dolls are the subject of fertility care. They are fed, washed, transported like real babies. Thus, among the Mossi, the biga is increased until birth and care she receives before the newborn. Among the Yoruba, the child timber is filled with the spirit of the model. The Ibeji, representing the twin died? is also the object of attentive care of the mother. She takes care throughout his life, and female offspring of mothers who receive the ibeji legacy, continued to provide care. The child remains well among his own people.

Time of my youth, I played with soldiers and my sister a doll. Today's children spend their time to explode, but virtually hard, thousands of invaders and girls bêtifient even before their Barbie dolls. The spirit remains the same. Yesterday also in Africa, children playing were preparing for their future role in the community. Slings allowed to practice hunting birds or

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 In sub-Saharan Africa, sculpture was and still is made and used for particular, practical purposes. In many instances it is used to mark events or stages of life, like fertility, birth, transition, death. For example, among the Yoruba in Nigeria, Ibeji twin-figurines (from ibi=first born and eji=two) are produced at the birth of someone's twins (a common occurance in this ethnic group). Among the Ashante in Ghana fertility figurines are carved, the Akuaba doll (akua=born on Wednesday and ba=child), to be worn by a young female in order to ensure her fertility. Ikenga figures embody protective spirits for worldly success and to protect the house-hold. Ancestor figures remind the people of those gone. Other carvings are used for initiation and coming-of-age rituals, for harvest festivals and celebrations, for funeral occasions.

 As sculptures in African society always had a practical purpose, they were made for particular occasions only, i.e. on commission from a patron. The client and the artisan would discuss the purpose of the work and agree a price before the sculptor set to work. The client would then rely on the artist to produce a familiar form in a familiar style. For him only the object would be important, not the carver. As most sculptures in Africa have a limited life span due to the climate (humidity, dampness, heat) and insect attack (woodworms, termites), carvings had to be replaced frequently. Nevertheless, "the artist is not a passive copyist, even though one of his major responsibilities is to replace destroyed works" (from African Art in the Cycle of Life, by Roy Sieber & Roslyn Adele Walker, 1987:20). In fact, in this way he represented his generation's link with the past. In other words, "each sculpture had its particular reason for
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african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / Afrique / Africa / l'oeil et la main / galerie d'art premier / achat / vente / expertise / expert / exposition / exhibition / collection / collectionneur / Paris / oeuvre / Verneuil / antiquités / antiquaire / musée / museum / masque / mask / statue / sculpture / Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com

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