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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 : 'masque'

Masks


Mask, Mumuye, Nigeria
Mask, Mumuye, Nigeria
€ 20,000.00
Masques
Masque Lapin
Mossi, Burkina Faso


Rabbit mask, Mossi people, Burkina Faso
Rabbit mask, Mossi people, Burkina Faso
€ 4,000.00
CHAMBA

















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
  Statues

Statue anthropomorphe Chamba
Statue anthropomorphe Chamba
€ 18,000.00
Ciwara mask, Bambara, Mali
Ciwara mask, Bambara, Mali
€ 25,000.00
Masque éléphant
Masque éléphant
€ 120,000.00
Hare-shaped mask, Bambara, Mali
Hare-shaped mask, Bambara, Mali
€ 12,000.00
Hyena-shaped mask, Bambara, Mali
Hyena-shaped mask, Bambara, Mali
€ 10,000.00
Female Kifwebe mask, Songye, Democratic Republic of Congo
Female Kifwebe mask, Songye, Democratic Republic of Congo
€ 12,000.00
Ciwara mask, Bambara, Mali
Ciwara mask, Bambara, Mali
€ 10,000.00

Image Cameroun masks

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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Terme qui apparaît en 1945. Il désigne selon le peintre Jean Dubuffet les œuvres spontanées immédiates, brutes, fortement influencées par l’art primitif, les dessins d’enfants, ou ceux d’aliénés mentaux, qu’il appelle « des singuliers de l’art ».


african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / l'oeil et la main / galerie d'art premier / Paris / masques africains / mask /Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com


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Courant majeur qui apparaît au début du 20ème siècle. Les artistes de ce courant  ne cherchent plus à représenter ou à copier  une réalité. L’utilisation de formes géométriques simples en relève.


african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / l'oeil et la main / galerie d'art premier / Paris / masques africains / mask /Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com
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(De l’anglais, signifiant « intégral »)

Principe pictural et procédé de composition où les éléments picturaux sont répartis également sur toute la surface, paraissant même pouvoir s’étendre au-delà du tableau. La perception est ainsi décentrée, l’œil n’étant plus dirigé dans une direction définie. Ce terme a servi à caractériser la démarche de Jackson Pollock au cours des années 1940.

african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / l'oeil et la main / galerie d'art premier / Paris / masques africains / mask /Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com

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(de l’anglais, signifiant « peinture d’action »)

Terme proposé en 1951 par le théoricien Harold Rosenberg, s’appliquant aux peintres de l’Expressionisme abstrait, et plus particulièrement à la pratique de Jackson Pollock. L’action painting met en avant l’acte physique de peindre et la gestuelle de l’artiste, qui semble entrer en action avec le tableau, en lutte avec le support. L’œuvre devient ainsi le témoin de la chorégraphie que l’artiste a effectuée. Il illustre les pulsions de l’artiste au moment de son travail créateur. La technique du dripping répond donc à cet objectif puisqu’elle permet de traduire l’énergie de celui qui crée.

african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / l'oeil et la main / galerie d'art premier / Paris / masques africains / mask /Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com
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L’abstraction lyrique est un mouvement artistique qui se développe à Paris après la Seconde Guerre mondiale. À cette époque, regroupés sous la bannière de l’École de Paris, des artistes comme Hans Hartung, Jean Bazaine, Roger Bissière, Pierre Soulages, Nicolas de Staël appliquent les premiers, les leçons de Vassily Kandinsky. Nourris de l’art de ce dernier considéré comme l’un des pères de l’abstraction,  ils découvrent la liberté et l’émotion qu’ils opposent à l’abstraction géométrique.


african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / l'oeil et la main / galerie d'art premier / Paris / masques africains / mask /Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com
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Association fondée le 15 février 1931 par Georges Vantongerloo et Auguste Herbin, qui a publié de 1932 à 1936 la revue Abstraction-Création (cinq numéros). De nombreux artistes européens actifs dans le champ de l’abstraction y ont collaboré. L’association (de plus de 400 membres européens et américains) a organisé les conférences et les expositions de tous ceux qui, en renonçant à la représentation de l’objet, « retrouvent la parole et la liberté créatrice ». Cette association, préparée par le groupe Cercle et Carré et par l’Art Concret de Théo Van Doesburg, a fait de Paris un pôle de création important dans le domaine de l’abstraction. Par exemple, les artistes Arp, Albert Gleizes, Piet Mondrian ont collaboré à l’association Abstraction-Création.


african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / l'oeil et la main / galerie d'art premier / Paris / masques africains / mask /Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com
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Image The gallery

The art gallery L'Oeil et la Main, located in Paris, is essentially devoted to the primitive arts. To come at the gallery, an access mapis available. If you wish to receive informations about the coming exhibitions, please leave us your email adress in the category subscription to the newsletter.


Opening hours of the gallery:

From Wednesday to Saturday

2pm - 7pm


To visualize a panorama of the gallery, click here.


For any information about a work of art :
Tel. : +33 (0)1 42 61 54 10

Métro: line 12 (Rue du Bac ou Solférino station), line 1 (Palais Royal musée du Louvre station)

Public parking:

Orsay museum, 8 quai Anatole France 75007

Bac-Montalembert, 9 rue de Montalembert 75007




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 /
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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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Image Boîte à divination par les souris, Baoulé, Côte d'Ivoire
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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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De l’africanisme aux études africaines Textes et « humanités » Alain Ricard Tout discours sur l'Afrique, et en particulier l'Afrique noire, ne peut il relever que de la passion, voire de lacompassion ? N’y a t-il que les fous d’Afrique – titre d’un livre récent – pour s’intéresser à elle ? Quelles formes de raison peut-il convoquer ?La première qui se présenta fut géographique. Sorte de page blanche de notre humanité jusqu'au XIXe siècle, l'Afrique a été inscrite avec nos routes, nos cartes, nos frontières ; aujourd'hui, les images satellitaires ne nous en laisentrien ignorer. Nous savons au mètre près ce qui se passe à Kisangani en guerre, là où Stanley donna à des chutes son nom : il avait compris que cette courbe du fleuve Congo était le centre du continent, il pensait en géographe et en stratège... Cette Afrique des images reste face à nous, extérieure : ne relève-t-elle pas aussi d'autres formes de raison plus intérieures, voire existentielles ? Quel immense murmure monte de la forêt ? Que dit-il ? Ces Africains ne sont-ils qued'empruntés francophones ou de pompeux anglophones ? Des bégayeurs maladroits ou des volubiles irresponsables ?L'inscription géographique, qui en reste à l'image, est trop facilement la proie de la marchandise. Aujourd'hui il nous faut le son, le discours. Des langues en expansion composent d'autres circulations que nous ne capterons pas avec nos satellites. Il nous faut passer de l'œil à l'oreille, du regard à l'écoute... Les blancs des cartes Les sciences humaines redécouvrent l’afrique, titrait un journal du soir après un colloque tenu à Nantes – « Les sciences de l’homme

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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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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 since 1935

Research Director
Professor A. A. Mazrui (Kenya)

Co-Director
C. Wondji (Ivory Coast)

Arts and society since 1935
J. VANSINA

Across Africa today the arts give the show an amazing cauldron of creativity emerged with a dizzying diversity of all layers of society. Many new artistic trends date from the second half of the colonial period. Besides, some pioneers are still working today. After all, it is past two generations since 1935. But in that short time, the artistic activity was a richness and diversity as this chapter may at most trace the main lines of its evolution (1).

Initially, we must enumerate a few general features of social and cultural matrix that is all. These are: the growing impact but unevenly distributed in Europe, the growth of cities, social stratification more trenches that lead to the formation of new classes, the industrial division of time has reached the beaches of leisure may be devoted to the practice and enjoyment of the arts, the prestige associated with the technical and technical training, changing the place and role of the artist in society, past status of artisan to that of cultural soothsayer The change in attitude toward art and their use, alteration of values in general and more specifically the changing religious values. The multiplication of objects of artistic production offers new opportunities, these are just

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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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Paris is for some years the worldwide capital of the market of the first Arts of Africa and of Oceania, strong of a tradition inherited from a colonial past and from an infatuation, at the beginning of last century, from artists as Picasso or Matisse for "Negro art". The opening of the museum of the quai Branly, unveiling of which provokes at the end of June a charged week, public sales - of which that announced exceptional of the collection Vérité on June 17th and 18th in Drouot - confirms this tendency.

For the expert Pierre Amrouche, "it is in Paris where there are most galleries specialised in First arts, it is in France where there are most collectors of first Arts, it is in France that the most important auctions of first Arts are held and it is in France that there will be so
on the most important museum of first Arts", he sums up.

Paris "regrouped all elements" cultural and commercial - museums and market - before dispersed between Brussels, New York and France, adds Margaret de Sabran, responsible of African and Oceanian art for Sotheby' s Paris.
The turnover is impossible to know because transactions are made so much on sales public that in galleries or between collectors. But for Mrs de Sabran, "of 50 inpubliques 60 pc sales of Africain and Oceanian art in the world are made in Paris", remaining pre-Columbian art especially in the United States.

The first "important sales of
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Visual, performing, and literary arts of sub-Saharan Africa. What gives art in Africa its special character is the generally small scale of most of its traditional societies, in which one finds a bewildering variety of styles. The earliest evidence of visual art is provided by figures scratched and painted on rocks c. 3000 BC. Pastoral cultures in the east emphasize personal adornment; sculpture predominates in the agricultural societies in the west and south. Clay figurines found in Nigeria date to 500 BC. Metalworking was practiced from the 9th century AD. Sculptures in stone, ivory, and wood date from the 16th – 17th centuries; some of the finest wood sculptures date from the 20th century. Architecture dominates the arts of the north and of the eastern coast, where Islam and Christianity exerted their influence; important work includes magnificent mosques built of mud and rock-hewn churches. Perhaps the most distinctive features of African music are the complexity of rhythmic patterning achieved by a great variety of drums and the relationship between melodic form and language tone structure. Without this the text of a song is rendered meaningless; but, even in purely instrumental music, melodic pattern is likely to follow speech tone. Dances are realized in radically different styles throughout Africa. Movement patterns often depend upon the way in which environmental, historical, and social circumstances have been articulated in working, social, and recreational movements. Often there is no distinction between ritual celebration and social recreation. The masquerade is a complex art form employing many media; masquerades may entertain, be used to fight disease, be consulted as oracles, initiate boys to manhood, impersonate ancestors, judge disputes, or execute criminals. The mask is essentially a dramatic device enabling performers to stand apart from their everyday role in the community.
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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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The Theodore Monod African Museum, for a long time called museum of Dakar or museum of IFAN, is a museum located in Dakar and part of the fundamental Institute of Black Africa (IFAN), within the University Sheikh Anta Diop.

It is part of official sites receiving writings displayed during Biennial of Dakar.


History

Located on the place Soweto, the building was constructed in 1931 in fashionable Sudanese style then and first sheltered the seat of the Administration Dress rehearsal de l' AOF, then the museum after creation in 1936 by French Theodore Monod de l' Institut of Black Africa (IFAN), which will change name without changing acronym in 1960s. It is only at this instant when collections are really put in the disposition of the public. However the first recording of object dates of 1941.

The museum was renovated in 1995. From January, 2005 till February, 2008, the conservative was Abdoulaye Camara.

For a long time called Africain Art museum, he changes name in 2007, by the presidential decree n ° 2007-1528 of December 13th, 2007 and takes that of Museum Africain Theodore Monod d' Art.

Collections

The museum is devoted to arts and
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