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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 : 'musee'

 

1884-1906

Du Salon des Indépendants au Fauvisme

1884

Fondation à Bruxelles par Octave Maus de la Société des Vingt (janvier)

Fondation à Paris de la Société des Indépendants: Seurat, Signac, Cross, Redon, Angrand, Dubois-Pillet. Seurat expose Les Baigneurs, Asnières (Tate Gallery, Londres). On commence à parler du Divisionnisme

Fondation de la Revue indépendante dont le rédacteur en chef est Félix Fénéon

Naissance de Modigliani, de Schmidt-Rottluff, de Beckmann et de Brusselmans.

1885

Pissarro rencontre Théo Van Gogh puis Signac et Seurat et adopte le Pointillisme

Naissance de Delaunay, de La Fresnaye.

1886

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Image Coiffures africaines

Exhibition "African Hairstyles"

After the monographic exhibitions devoted to ethnic Mumuye and Bambara, the gallery's eye and the hand begins 2010 with an exhibition on the theme of the often overlooked African hairstyle. Often overlooked as belonging to the sphere of the arts "popular", hair is however of particular importance in Africa, both aesthetically and symbolically.

The hairstyle can both grow its appearance but also to affirm their identity or social status. Some hairstyles are immediately identifiable, such as hairstyling splayed Mangbetu of the Democratic Republic of Congo or the hairstyles solidified ocher Namibia. Others refer to a hierarchical system more complex. Ancient art, hair is also found in modern African art production, through paintings advertising kiosks hairdressers or barbers, or in African-American fashion. Both ornaments and symbols of identity, the hairstyles worn by different ethnic groups are reflected in their art. Although they represent gods or ancestors, masks and statues are the hairstyles of the living.

In Africa the hairstyle is still practiced by family members or trusted friends. In addition to the social aspects of the event, the hair, placed in the hands of enemies, could become an ingredient in the production of dangerous charms or "medicines" that could hurt their owners. Mostly it is women cap the women and men that cap men.

As scarification, hairstyles to identify gender, ethnicity, stage reached by the person in the cycle of life, status and personal taste. Scholars,

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Metisse world
edited by Serge Gruzinski


To Mix ot not to mix?

It is to dwell on the notion of miscegenation, topical if any, by confronting the reader to a series of oppositions common, calling into question the strong taste of the West for dualism: Classical / ethnic, antique / classic, original / first, folk / colonial, exotic / Typical ...

Open exhibition and publication on issues related to the idea of mixing that lead almost without transition, to an exploration of memory. These elements suggest to think logically about how to be "manufactured" objects mixed with it is often difficult to define the contours. They could be defined as the expression of a human creation that arose at the confluence of the Worlds and European companies in Asia, Africa and America. They are at the heart of a story that is played worldwide since the fifteenth century to the present.

After several steps that will reveal many little-known works, the course ends with an imaginary encounter with the contemporary Métis, particularly through Hollywood and Asian cinema.
Description

184 pages 24 x 26 cm

About 150 illustrations

Retail price: 45 €

Hardback

Isbn 978-2-7427-7344-2/978-2-915133-81-3

Co-published Branly / Actes Sud
curator

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What a body?


I have a body good to me, it seems, and that's because I'm me. I count among my properties and pretend to carry him on my full sovereignty. I think therefore unique and independent. But it is an illusion because there is no human society where it is believed that the body is worth by itself. Every body is created, not only by their fathers and mothers. It is not made by one who has it, but by others. No more in New Guinea, the Amazon or Africa than in Western Europe, it is thought as a thing. Instead, it is the particular form of relationship with the otherness that constitutes the person. Depending on the perspective of comparative anthropology adopted here is that other, respectively, the other sex, animal species, the dead or the divine (secularized in the modern age, in the teleology of living). Yes, my body is what reminds me that I find myself in a world populated by example, ancestors, gods, enemies or people of the opposite sex. My body really mine? It is he who I do not belong, I is not alone and that my destiny is to live in society.
Description

224 pages 24 x 26 cm

240 color illustrations

1 map

retail price: 45 €

isbn 2-915133-17-4

Co-published Branly / Flammarion
curator

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Ciwara


African chimeras

Masks, headdresses Ciwara are among the better known pieces of African art. Incomparable masterpieces cultures Bamana (Mali) and Senufo (Mali, Côte d'Ivoire), enigmatic and emblematic symbols of African art, clichés abound when talking about these famous head crests. There are few so-called traditional African sculptures which have aroused so much admiration from fans and collectors. This catalog is intended to fill this gap and provide a scientific focus on the subject. He cites the permeability of borders and artistic use of such objects do not come out only during agricultural rites but on several occasions during the year (entertainment, important ceremonies such as funerals, fight against bites snake, ...). It also highlights the richness of the museum, unique in international collections, with his fifty-five masks reproduced at the end of the book.
Description

96 pages format 20 x 26 cm

70 illustrations and 55 photos to the catalog raisonné

Maps

retail price: 25 €

isbn 2-915133-15-8 / 88-7439-318-0

Co-published Branly / 5 Continents
curator

Lorenz Homberger, Deputy Director of the Museum Rietberg, Zurich
authors

Jean-Paul Colleyn, study director at the EHESS

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Listed injured


Repair in Africa

Repair, mend, strengthen, seal ... Listed blessésaborde unexplored subject of compensation by local indigenous people. This publication opens a new perspective on African objects, and features 120 "objects wounded" among the 500 selected objects repaired Musée du Quai Branly. The catalog offers many points of view because every culture that gives the repair of objects, rituals or customary, a different form and meaning.

But he also wondered about the poetic nature of the restoration. In this supplement almost mystical power of life and that the gesture of the man gives the object, it seems permanently removed from the ephemeral. In addition, repair is a mark of authenticity, if indeed we do not seek to falsify it.

The first section defines the meaning of the word "reparation" in French as well as in a number of African languages. Are then highlighted the differences between repair and restoration. Finally ethnological thinking is the act of reparation in the complex life of the object.

The second part explores the meaning of compensation for the three main religions in the continent: animism, Islam and Christianity.

The third part raises a more analytical, the question of compensation for three different cultures: Maghreb, Dogon, Gabon.

The final text shows the importance of the concepts of tear and repair in contemporary Western art.
Description

96 pages

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Ideqqi


Art of Berber women

The catalog produced for the exhibition Ideqqi, art of Berber women, is the first paper on the art of pottery Berber in Algeria, specifically female. It is based on the collections of the Musée du Quai Branly, particularly rich.

After an introduction by Marie-France Vivier, curator, Ernest Hamel provides a historical overview of Kabyle pottery, while Claude Presset through iconography selected, moved the manufacturing steps, from mixing to baking.
Dalila Marsly texts have different functions exhibits, including through their household.
The final text by Marie-France Vivier allows the reader to understand the symbolism of the sets, by drawing some comparisons with, for example, tattoos of Kabyle women photographed there are more than forty years by Marc Garanger.


Description

    
* 96 pages format 20 x 26 cm
    
* 62 color plates and 97 vignettes (catalog raisonné)
    
* 3 maps

Retail price: 25 €

isbn 2-915133-59-2 / 978-88-7439-381-7

Co-published Branly / 5 Continents
curator

Marie-France Vivier, honorary curator, collections manager of Northern Africa at the Musée du Quai Branly. She is the author of A Passion for African Art (Joel Cuenot, 2005), Algeria, women's memory

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Benin


Five Centuries of Royal Art

Produced by the Museum für Völkerkunde (Ethnology Museum) in Vienna, the Benin catalog, five centuries of royal art to discover the masterpieces of the art of court of the kingdom of Benin in the south of the Current Nigeria.

Reference book of over 500 pages, published this comprehensive retrospective, it includes an introduction to local traditions of Nigeria, reports on field research and the latest offers historico-cultural, symbolic and pictorial exhibits , crucial for the identity of the kingdom of Benin.

It is the perfect mirror of the exhibition that brings together for the first time in Europe, mostly from collections in England, Germany and Austria. All these works, a remarkable historical unity, draws a broad panorama of art and culture of the kingdom of Benin.

Treasures of mankind and blocks of museums around the world, beautiful bronzes and ivory carvings are at the heart of the course., Supplemented by maps, manuscripts and chronicles of travel, many clues for the reader of the immense wealth of the past in Nigeria.


five centuries of royal art


October 2, 2007-January 6, 2008

Curator: Barbara Plankensteiner, Director of Collections of Africa Museum of Ethnology in Vienna.

Produced by the Museum of Ethnology in Vienna, the Benin exhibition to discover the masterpieces of the art of court of the Kingdom of

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Persona. Masques rituels et œuvres contemporaines est une exposition temporaire axée sur le thème de l’identité, par le biais du masque considéré au sens propre et figuré.
« En latin, personadésignait le masque de l’acteur. (…) D’une façon très générale, la persona est le masque que tout individu porte pour répondre aux exigences de la vie en société » (Encyclopædia Universalis).

L’exposition présente 180 masques dont plus de cent proviennent des collections du Musée royal de l’Afrique centrale, les autres étant empruntés à des collections privées belges et à 4 musées partenaires d'un projet européen : Musée du quai Branly de Paris, le musée d’Ethnographie de Stockholm, le Museo Nazionale Preistorico Etnografico Luigi Pigorini de Rome et le Musée du Carnaval et du Masque de Binche.

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Image Georges-Henri Rivière

 

PARIS - JOSEPHINE BAKER - GEORGES-HENRI RIVIERE Joséphine Baker (1906-1975), artiste de music-hall et Georges-Henri Rivière (1897-1985), ethnographe français, au musée ethnographique du Trocadéro. Paris, juin 1933. LIP-6259-052

PARIS - JOSEPHINE BAKER - GEORGES-HENRI RIVIERE

Joséphine Baker (1906-1975), artiste de music-hall et Georges-Henri Rivière (1897-1985), ethnographe français, au musée ethnographique du Trocadéro. Paris, juin 1933. LIP-6259-052

Portrait de Thérèse Rivière © musée du quai Branly, photo Jacques Faublée
Portrait de Thérèse Rivière © musée du quai Branly, photo Jacques Faublée
Soeur de Georges-Henri

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Arman

Armand Pierre Arman

Birth name     Armand Pierre Fernandez
Born     November 17, 1928(1928-11-17)
Nice, France
Died     October 22, 2005 (aged 76)
New York City
Nationality     French
Field     Sculpture, Painting, Printmaking
Movement     Nouveau Réalisme
Influenced by     Kurt Schwitters, Vincent van Gogh, Surrealism, Dada, Serge Poliakoff, Nicolas de Stael

Arman (November 17, 1928 – October 22, 2005) was a French-born American artist.Born Armand Pierre Fernandez in Nice, France, Arman is a painter who moved from using the objects as paintbrushes ("allures d'objet") to using them as the painting itself. He is best known for his "accumulations" and destruction/recomposition of objects.

Biography

Arman's father, Antonio Fernandez,
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Museo Etnografico Africa-Mozambico
Bari

The artifacts come from the African Mission of Capuchin firars in Mozambique: they include masks, musical instruments, objetcs made of ivory as well as a lot of documents.

Museo Villaggio Africano
Basella di Urgnano

The works exhibited in this museum-village since 1984 come from the collection of a Passionist Missionaries, a religious congregation founded in 1743. Tribal handcraft works are on display in the museum-village but some are also for sale. The profits go to the congregation whicj helps people in Africa. The objects come mainly from Sub-Saharan Africa (Dogon, Baule, Mahongwe).

Museo Civico di Scienze Naturali "Enrico Caffi"
Bergamo

The museum was born in 1917 when the cabinet of curiosities of the Royal Technical Institute was merged with several private collections of the area. After several places, it was finally established in the sumptuous Piazza Cittadella palace in 1960. The ethnographical section just opened: the largest part of the collection was brought back by Costantino Beltrami, who "discovered" the source of the Mississipi River; it includes
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DE L'ART ANCIEN AFRICAIN, DE L'ETHNOLOGIE ET DU MUSEE: POUR UN RECENTREMENT DE L'ESTHETIQUE...


Au commencement était la nuit. Une longue nuit pour l'esthétique africaine. Ce fut le règne sans partage du musée dit «de séries», véritable vitrine du colonialisme, de confession évolutionniste et dont l'approche contextualiste célébrait l'Etrange, chantait l'Aventure et la Science. A cette époque point d'« objets », que des curiosités, trésors de guerre et pièces de laboratoires de chevronnés « Civilisateurs ». Il n'était pas rare alors, de voir des sculptures côtoyer dans les vitrines : cornes, peaux de bêtes et autres feuilles de palmier. Puis, il y eut le regard affûté d'une jeune génération d'artistes particulièrement douée et par ailleurs cruellement blasée, en quête de médecine pour un art européen las de son académisme figé. Cette génération vit dans ce fouillis les moyens d'une rédemption...

Une certaine révolution est venue corriger l'évidente injustice, consacrant depuis le siècle dernier des expositions à caractère esthétique pour la production africaine. Désormais, les objets, dans une dramaturgie suggérée par les seules qualités plastiques, invitent à un rapport nouveau. Exit la surabondance, la cacophonie et le "meurtre du vrai" que génère la tentative bancale de reconstitution de l'ailleurs fantasmé. Ici on ne rejoue pas le film de l'heureuse rencontre avortée entre "civilisés" et "primitifs". Nous avons les vrais Stars que sont les objets, mais d'une

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Edvard Munch

Born     12 December 1863(1863-12-12)
Ådalsbruk in Løten, Norway
Died     23 January 1944 (aged 80)
Oslo, Norway
Nationality     Norwegian

Edvard Munch (Norwegian pronunciation: [ˈmuŋk], 12 December 1863 – 23 January 1944) was a Norwegian Symbolist painter, printmaker and an important forerunner of expressionistic art. His best-known composition, The Scream, is part of a series The Frieze of Life, in which Munch explored the themes of life, love, fear, death, and melancholy.

Biography

Youth

Edvard Munch was born in a rustic farmhouse in the village of Ådalsbruk in Løten, Norway to Christian Munch, the son of a prominent priest. Christian was a doctor and medical officer who married Laura Cathrine Bjølstad, a woman half his age, in 1861. Edvard had an older sister, Johanne Sophie (born 1862), and three younger siblings: Peter Andreas (born 1865), Laura Cathrine (born 1867), and Inger Marie (born 1868). Both Sophie and Edvard appear to have inherited their artistic talent from their mother. Edvard Munch was related to painter Jacob
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Max Ernst

Born     April 2, 1891(1891-04-02)
Brühl, Germany
Died     April 1, 1976 (aged 84)
Paris, France
Nationality     German

Max Ernst (2 April 1891 – 1 April 1976) was a German painter, sculptor, graphic artist, and poet. A prolific artist, Ernst is considered to be one of the primary pioneers of the Dada movement and Surrealism.

Early life

Ernst was born in Brühl, Germany, near Cologne. In 1909, he enrolled in the University at Bonn to study philosophy but soon abandoned the courses. He began painting that year, but never received any formal artistic training. During World War I he served in the German army, which was a momentous interruption in his career as an artist. He stated in his autobiography, "Max Ernst died the 1st of August, 1914."

[edit] Dada and Surrealism
Max Ernst, Ubu Imperator, (1923), Musee National d'Art Moderne, Centre Pompidou, Paris, France

After the war, filled with new
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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 African museum of Lyon is one of the private most ancient museums located in the city of Lyons. It is also the most ancient museum dedicated in Africa in France. Its collection is particularly rich in rooms coming from Western Africa.

History

The African Museum was create in 1861 on the initiative of the Society of Africain missions and of its founder monsignor Marion de Brésillac. After the disappearance of this last, it is the father Augustine Planque who undertook to ask the missionaries sent in Western Africa to bring back stories of daily, religious and religious life in Africa. After 137 years of existence, the museum will close its doors provisionally to the public as part of a restoration of the whole establishment. He will open again them on January 28th, 2001.

Collection and situation

The Africain Museum is located in 150 Gambetta Courts in Lyons. It disposes in its building of 750m ² places dedicated to the permanent collection (2126 rooms) and as in all museums of a room dedicated to temporary exhibitions. The permanent collection is divided in a thematic way on three levels: Daily life, social Life, Religious Life.

Characteristics

The Africain Museum is of many interests to be visited. Firstly it is an element which allows to discover Africa alone or
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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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The British Museum is a museum of human history and culture situated in London. Its collections, which number more than 7 million objects, are among the largest and most comprehensive in the world and originate from all continents, illustrating and documenting the story of human culture from its beginning to the present.

The British Museum was established in 1753, largely based on the collections of the physician and scientist Sir Hans Sloane. The museum first opened to the public on 15 January 1759 in Montagu House in Bloomsbury, on the site of the current museum building. Its expansion over the following two and a half centuries has resulted in the creation of several branch institutions, the first being the British Museum of Natural History in South Kensington in 1887. Until 1997, when the current British Library building opened to the public, replacing the old British Museum Reading Room, the British Museum was unique in that it housed both a national museum of antiquities and a national library in the same building.

The museum is a non-departmental public body sponsored by the Department for Culture, Media and Sport. As with all other national museums and art galleries in Britain, the Museum charges no admission fee, although charges are levied for some temporary special exhibitions. Since 2001 the director of the Museum has been Neil MacGregor.

History

Though principally a museum of cultural art objects and antiquities today, the British Museum was founded as a "universal museum". Its foundations lie in the will of the physician and naturalist Sir Hans Sloane (1660–1753). During the course of his lifetime Sloane gathered an enviable collection of curiosities and whilst not wishing to see his collection broken up after death, he bequeathed it to King George II, for the nation, for the princely sum of £20,000.

At that time,
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