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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 : 'mueller'

Statue féminine Anjenu
Statue féminine Anjenu
€ 45,000.00
Ngoin mask, Babanki style, Cameroon
Ngoin mask, Babanki style, Cameroon
€ 21,000.00

Maître de Bouaflé

Simone Breton en 1927.  Man Ray


Mask Gouro Maître de bouaflé

Vente record pour un masque ayant appartenu au surréaliste André Breton masque Gouro de Côte d’Ivoire a atteint la somme respectable de 1 375 000 euros

Mask Gouro Maître de bouaflé



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Notes succinctes sur les masques kalengula des Luntu et des peuples voisins (R.D.C.)
(première partie)
Constantin PETRIDIS (1) in Arts d'Afrique Noire arts premiers Automne 2000 N° 115
Au sein de la littérature sur les masques de l'Afrique subsaharienne, ce sont surtout les masques en bois sculpté qui ont retenu l'attention des chercheurs. Les publications sur le bassin du Congo n'ont pas fait exception à cette règle. Ainsi, le catalogue d'exposition 'Face of the Spirits', publié en 1993 à l'occasion d'une exposition du même nom à l'Etnografisch Museum d'Anvers, ne montre, sur un total de cent treize masques, que cinq exemplaires en fibres tressées (2). La rareté de ces objets dans les collections occidentales est due, entre autres, au fait que les matières utilisées résistent mal au transport et aux changements climatiques. Il faut sans doute également voir dans cette lacune une explication d'ordre esthétique. En effet, les premiers collectionneurs d'art africain, se laissant guider par des idéaux occidentaux, ne prenaient en considération que des matières jugées nobles telles le bois, les métaux ou l'ivoire. Pourtant, hormis des masques en bois sculpté, plusieurs peuples du bassin du Congo ont produit des couvre-chefs et couvre-visages en fibres et autres matières plus éphémères. Or, bien qu'ils soient occasionnellement mentionnés dans des publications spécialisées, les études approfondies les concernant font aujourd'hui toujours défaut (3).
En vertu de ce constat, il nous a semblé pertinent de nous pencher sur l'étude d'un type de masque nommé kalengula qui, malgré une
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Image Black Africa: Masks, sculpture, jewelry
MEYER Laure
Black Africa: Masks, sculpture, jewelry
Détails sur le produit: Broché: 224 pages - Editeur: Editions Pierre Terrail (1992) - Langue: Anglais 
ISBN-10: 287939032X - ISBN-13: 978-2879390321
Descriptions du produit:The Northern Hemisphere has long looked at the art of the Southern Hemisphere and equatorial regions as a collection of curios or travel trophies illustrating the essentially barbarous nature of its creators. Slowly such views are changing as more effort is put to understanding the individual works of art and their context in the societies that produced them. Art historian Meyer has attempted to integrate over 200 color photos together with a general text giving an overview of the role of the arts in various African cultures. Although her choppy text (translated from the French) will provide a basis for interested readers to start research, the bibliography is dated and leads mostly to French sources. Rather than present an overview, Newton, the former director of New York's Museum of Primitive Art, has produced a catalog of suberb photographs with scholarly explanatory captions. The objects, mostly of wood, are drawn from Geneva's Barbier-Mueller Museum, considered one of the best collections in the world. Photographed with great depth of field and subtle lighting designed to accentuate texture, the sculptures are brought to life by a fine-grain printing process. Meyer uses some photos that also appear in Newton's book, but the two works complement each other rather than overlap. The Newton book is the better choice for general collections, but the differences in explaining societal context and the different scope of coverage warrant placement of both books in comprehensive collections. David McClelland, Temple Univ. Lib., Philadelphia Copyright 1992 Reed Business Information, Inc. --Ce texte fait référence à une
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Image ARTS DU NIGERIA
MARTIN Jean-Hubert,  FEAU Etienne,  JOUBERT Hélène 
 
ARTS DU NIGERIA
 
Détails sur le produit:
Broché: 317 pages - Editeur: Réunion des Musées Nationaux (7 mai 1997) - Langue: Français - ISBN-10: 2711835227 - ISBN-13: 978-2711835225
 
Descrizione libro:
REUNION DES MUSEES NATIONAUX - [1997], 1997. in-4 broché 317p très bel ex ouvrage accompagnant l'exposition au musée des arts d'Afrique et d'Océanie d'avril à août 1997, à l'occasion de l'acquisition de 105 pièces d'art nigérian provenant de la collection
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Image African Masks: From the Barbier-Mueller Collection
HAHNER-HERZOG Iris, Maria Kecskesi, Lazlo Vajda
 
African Masks: From the Barbier-Mueller Collection
 
Détails sur le produit:
 
Broché: 287 pages - Editeur: Prestel; Édition: illustrated edition (2002) - Collection: African, Asian & Oceanic Art - Langue: Anglais 
ISBN-10: 3791327097 - ISBN-13: 3-7913-2709-7
HAHNER-HERZOG Iris, Maria Kecskesi, Lazlo Vajda: 
African Masks: From the Barbier-Mueller Collection
Descriptions du produit: Descrizione libro
 
 
 
 
 
Descriptions du produit:
 
 
 
Descrizione libro
 
From Library Journal
These two books by the same publisher are very similar in a number of ways?they are designed to accompany major European exhibitions; contain hundreds of visually impressive photos of some of the finest works of African artistry; and cover the art of Africa while emphasizing the sculpture of West and Central Africa. These similarities aside, the books differ significantly in terms of the nature of the text and the focus of the content. Early in the 20th century a small number of European collectors acquired significant collections of African art. Han Coray (1880-1974), a modern art dealer in Zurich, was one of the earliest of those collectors, and his extensive collection eventually became the property of the Zurich University Ethnographic Museum. African Art is a catalog of that collection, with over 300 photographs of the objects. While most of the catalog entries provide useful information about the objects, some are unsatisfyingly only descriptive. More than a dozen essays are also provided,
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Image L'HOMME ET SES MASQUES
BUTOR Michel, Alain-Michel Boyer, Floriane Morin et Pierre Messmer
 
L'HOMME ET SES MASQUES: Chefs-d'oeuvre des musées Barbier-Mueller, Genève et Barcelone
 
Détails sur le produit:
 
Relié: 371 pages - Editeur: Hazan (25 mai 2005) - Langue: Français - 
ISBN-10: 2754100377 - ISBN-13: 978-2754100373
BUTOR Michel, Alain-Michel Boyer, Floriane Morin, et Pierre Messmer  -  L'HOMME ET SES MASQUES
Descrizione libro - Présentation de l'éditeur   -   Biographie de l'auteur
 
 
 
 
 
Descriptions du produit:
 
 
 
Présentation de l'éditeur
 
Pour la première fois en Europe, les riches collections des musées Barbier-Mueller de Genève et de Barcelone ont permis de réunir une sélection exceptionnelle de 125 masques du monde entier, illustrant 5 000 ans d'histoire de l'art. Le poète Michel Butor a mis en scène avec sensibilité les masques d'initiation, de chamanisme, de théâtre, de carnaval ou de protection, qui dialoguent ainsi avec des mots choisis. Alors, ces visages de bois, de fibres et de fer prennent vie. Ils rassurent ou terrorisent, leurs faces s'illuminent d'un sourire ou se figent dans une grimace crispée. Ce défilé est introduit par un essai de l'ethnologue et philosophe Alain-Michel Boyer, évoquant avec liberté les nombreux visages et aspects du masque. Chaque œuvre est enfin décrite et puis replacée dans son contexte de
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Image Terres cuites africaines
BARBIER-MUELLER Jean-Paul, Boris Wastiau, Collectif
Terres cuites africaines: Un héritage millénaire
Détails sur le produit: Relié: 469 pages - Editeur: Somogy éditions d'art (17 février 2009) - Collection: COEDITION ET MU - Langue: Français - ISBN-10: 2757202308 - ISBN-13: 978-2757202302
Présentation de l'éditeur:
La terre cuite n'est pas uniquement synonyme de récipient, d'objet domestique. Elle se décline en une infinité de formes, dues à la docilité de l'argile et à l'extraordinaire fantaisie de ses créateurs. Empreint de sacralité, le réceptacle se déguise et revêt des traits anthropomorphes. Parfois l'argile prend forme humaine, nous trouble en imitant un visage, et devient portrait. Les collections du musée Barbier-Mueller présentent la terre cuite africaine sous ses multiples facettes au travers des cultures disparues depuis des millénaires, mais aussi des traditions intimement liées à la poterie qui perdurent de nos jours. Cet héritage culturel, dont la force symbolique égale la beauté, offre tout à la fois un parcours historique et géographique de l'Afrique, une et multiple. Cette publication, riche de plus de 200 œuvres, est née de la collaboration de nombreux spécialistes du continent africain. De magnifiques photographies anciennes comme actuelles jalonnent cet ouvrage de
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Musées

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"Art plays an essential role in the lives of the African people and their communities. It serves a much more vital purpose than merely to beautify the human environment, as art is usually employed in contemporary Western societies.
The beauty of African art is simply an element of its function, for these objects would not be effective if they were not aesthetically pleasing. Its beauty and its content thus combine to make art the vehicle that ensures the survival of traditions, protects the community and the individual, and tells much of the person or persons who use it."
 
Tribal Art is rapidly growing in popularity. An even broader audience has been able to enjoy ‘Tribal Art’ thanks to major exhibitions in recent years in London, Paris, Berlin, Munich and Düsseldorf. 
   At the start of the 20th century, however, Tribal Art was already arousing great excitement among artists and art collectors. At a time when “Negro Art” was still looked upon as the innocent product of primitive peoples, cubists such as Picasso, Braque or Gris were already drawing inspiration from the strikingly new qualities of form; expressionists such as Kirchner, Nolde or Schmidt-Rottluff were captivated by the elementary power of this native art and Gauguin was painting scenes from his travels to countries of the South Pacific. Non-European art greatly influenced the work of these great artists as it continues to influence modern art of the present day. 
   Over the course of the decades, great art lovers such as von der Heydt (Rietberg Museum, Zurich) or Mueller (Barbier-Mueller Museum, Geneva) have established significant art collections, which alongside the “colonial legacy” provide the mainstay of the museums’ inventories all over the world. Today it is artists and art enthusiasts such as Baselitz, Arman or Fritz
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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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Socleurs/restaurateurs:

 

Ebenisterie DAGORN

FOURNISSEUR DU MOBILIER NATIONAL, DIPLÔMÉ DE L'ÉCOLE BOULLE

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Jean Paul Barbier-Mueller est un collectionneur suisse, né à Genève en 1930.

Biographie

Il a subi l’influence d’un père que tout passionnait : la poésie, la philosophie, la musique (une des ses oeuvres fut créée à Seattle en 1985) ou la science (il obtint son doctorat en biologie à l’âge de 47 ans).

Après des études de droit à Genève et à Londres, il s’inscrit au Barreau, mais se retrouve assez rapidement au service d’une grande banque, puis directeur, à 28 ans, d’une société financière. En 1960, il crée sa propre entreprise, la Société privée de gérance, spécialisée dans la gestion du parc locatif immobilier d’investisseurs institutionnels et la construction d’immeubles à caractère social.

Collectionneur à la suite de son beau-père Josef Mueller, il s’oriente vers les arts « non occidentaux ». Avec sa femme Monique, il crée en 1977 le musée Barbier-Mueller, qui organise plus de soixante-quinze expositions, la plupart accompagnées d'importants catalogues, présentant les différentes sections de la collection familiale, avec la collaboration des plus grands musées d’Europe, d’Amérique et d’Asie. Il conduit lui-même ou finance des recherches à Sumatra, en Côte

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Martine Pinard
Ecole du Louvre
Spécialité Arts de l'Afrique
Janvier 2008

" L'Art nègre ? Connais pas  " ! Picasso, 1920

I. Préambule

Au début du XXème siècle et plus précisément vers les années 1905-1907, des peintres commencèrent à collectionner des sculptures d'Afrique et d'Océanie. Qui sont ces collectionneurs de ce qu'on a appelé l' " art nègre " (terme qu'il faudra définir) ; comment, dans quel contexte, ont eu lieu les premières acquisitions ?
Cette première question en induit naturellement une autre : s'il y eut un engouement de prime abord (semble-t-il) " artistique ", qui étaient les premiers collectionneurs-marchands, nécessairement devaient être présents dans le circuit de ces acquisitions ?
Enfin, de manière plus générale, le dossier soulève en toile de fond, la question du changement de regard pour l'art africain et plus généralement l'art des " Autres " sous l'angle de l'impact de cet engouement du début du XX ème siècle. Peut-on esquisser une " trajectoire "
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Les collections d'art africain dans les musées du monde

L'Amérique

Bermudes

Hamilton
 Bermuda National Gallery
 City Hall, Church Street
 lu-sa 10-16
 Arts d'Afrique occidentale: Bamana, Bwa, Bete, Guro, Yaoure, Senufo, Ashanti, Yoruba, Ibo, Bamileke...
 
Brésil

Bahia
 Museu Afro-Brasileiro. Universidade Federal da Bahia
 Terreiro de Jesus
 ma-sa 9-17
 Arts et objets cultuels d'Afrique Noire: Yoruba...

Sao Paulo
 Museu de Arqueologia e Etnologia. Universidade de Sao Paulo
 Cidade Universitaria. Av. Prof Almeida Prado
 ma-ve 9-17; sa 10-14
 Ethnographie de l'Afrique noire. Exposition permanente "Culturas e Sociedades"
 
Canada

Calgary
 Glenbow Museum
 130 9th Avenue S.E.
 ma-di 9-17
 Arts d'Afrique occidentale: Baga, Senufo, Ashanti, Yoruba, Ibo, Yaunde, Bamileke... (non exposés en permanence)
 
Kingston (Ontario)
 Agnes Etherington Art Centre. Queens University
 Queens University Campus
 ma-ve 10-17; sa-di 13-17
 Arts d'Afrique occidentale: Bidyogo, Dogon, Bamana, Bankoni, Mossi, Dan, Senufo, Baule, Yaure, Anyi, Ashanti, Fanti...
 Arts du Nigeria: Yoruba, Ibo, Urhobo, Koro, Mama, Kaka...
 Arts du Gabon et du Congo: Fang, Kota, Bembe, Kongo, Yombe, Pende, Luba, Hemba, Lega, Songye, Tshokwe... (Coll. Lang)
 
Montréal
 Musée des beaux-arts
 1379-1380 rue

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The Quai Branly museum is set on quai Branly in the 7th district of Paris, where was located the Foreign Exchange Market Department. Ambitious project led by Jacques Chirac (passionated by « primitive art ») and realised by Jean Nouvel, it has been unveiled the 20th of June 2006.

History

Jacques Kerchache, art seller and african art expert, tried from the begining of the 1990’s to bring the « primitive arts » into the Louvre museum. In 1990 he signed in the newpaper Libération an article on this topic ; the same year he met Jacques Chirac, then mayor of Paris.

The latter is elected president of the Republic in 1995. As soon as he arrived at the head of the State, he askes for the opening of a primitive art department at the Louvre museum. One year later he announced the project of creation of a new museum, which quickly meet an opposition, especially  with a strike of the personnal of the Man museum in 1999, to stand in the way of the disassembly of the museum’s collections and criticize the primacy of the aesthetic choice instead of the scientific factors.

An architecture competition is sent out in 1999, designating Jean Nouvel as the architect.

This museum is unveiled the 20th of June 2006 by Jacques Chirac, in the presence of Kofi Annan, Rigoberta Menchú, Paul Okalik, Dominique de Villepin, Lionel Jospin and Jean-Pierre Raffarin. The Quai Branly museum has the status of public administratove institution. It’s placed under the guardianship of the Department of Culture and

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Anne-Louise Amanieu
Ecole du Louvre
Specialty Arts of Africa
December 2007

Fang mask society Ngil, Gabon, Pavilion des Sessions at the Louvre

IDENTIFICATION

Fang mask the Pavillon des Sessions consists partly of wood covered with kaolin and measure about 70 cm high. It dates from the late nineteenth century or early twentieth. Listed under the inventory number 65-104-1, it comes from the former collection of André Lefèvre and was acquired in 1965 by the Museum of Man.

DESCRIPTION

This great helmet mask represents a stylized human face, whose face and elongated heart-shaped and slightly concave is shared by a long thin nose. On the top of the forehead develops a studded headband for attaching ornaments and who bears a ridge with extension to the front leads by three strokes for joining the nasal bridge and deployed above the eyebrows. The C-shaped ears stand out in high relief on both sides of the face, as the eyes and mouth, they are barely mentioned by simple incisions highlighted by thin slits etched tattoos that recall that arborist and the Fang Ntoumou Mvai by Günter Tessmann.

ANALYSIS

The mask of Ngil (NGI) exists only among the Fang, the people established the Sanaga River (southern Cameroon) Ogooué River (northern Gabon) and in Equatorial Guinea after a period of migration to the eighteenth and

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Jean Paul Barbier-Mueller is a Swiss collector, born in Geneva in 1930.


Biography

He has been under the influence of a passionnate father : poetry, philosophy, musicor science (he got his PhD in biology at the age of 47).

After law studies in Geneva and London, he registers at the Bar and become manager, at the age of 28, of a financial society. In 1960, he creates his own society, the Private Society of Managment, specialized in the managment of the housing stock and construction of social flats.

Collector as his father-in-law Josef Mueller, he goes in for « non-western » arts. With his wife Monique, he creates in 1977 the Barbier-Mueller museum, which organize more than seventy-five exhibitions, most of them attended with importants catalogues, presenting the differents sections of the familial collection, with the contribution of major european, american and asian museums. He carries out or finances researches in Sumatra, in Ivory Coast and Guinea. He’s one of the best expert of the Batak ethnic group, in the north of Sumatra. In may 1997, the Barbier-Mueller precolombian art museum opens opposite to the Picasso museum, in Barcelona. The town council offers a long-time loan from the Nadal Palace to expose around 400 works of art from Pre-Hispanic America.


Jean Paul Barbier-Mueller is also a recognized specialist of the poetry and the french history of the 16th century. Bibliophile since the age of 13, he has gathered one of the most full library devoted to Ronsard and other authors of the Pléiade. Entitled « Ma Bibliothèque poétique », the catalogue of this collection count 7 volumes already published. Jean Paul Barbier-Mueller has also written many articles for journals such as « Bibliothèque d’humanisme »,

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In 1950s, it was possible to find many objects at the price of 10 francs on the flea markets of Europe. The first objects to take value were those of the Benin because they were bronze, then came the fashion of objects to black patina of Ivory Coast, and those of Bakota of the Gabon plated by copper and by brass. The big statues were worth more expensive than the babies, while most often in Africa, if they are small it is to be able to hide them more easily because they have a particular importance.

  

In 1983, a Parisian trader, Jean-Michel Huguenin, makes discover seats Sénoufo. In 1985, another Parisian trader, Réginald Groux, discovers the ladders of lofts Dogon — coming from the cliff of Bandiagara — and Lobi in the region of Mopti (Mali).He acquires a first lot of fifty, makes them socler and sells them in his gallery by making a pretty benefit.

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