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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 : 'william'

The Age of Jazz

exhibition poster's century jazz


Garden Gallery

exhibition ticket or ticket matched

March 17 to June 28, 2009


Commissioner Daniel Soutif

Jazz, along with film and rock, one of the major artistic events of the twentieth century. This hybrid music marked the global culture of its sounds and rhythms.

The exhibition, designed by the philosopher and art critic Daniel Soutif, presented in chronological relations between jazz and graphic arts throughout the twentieth century.

From painting to photography, from cinema to literature, not to mention the graphic or comic book, the exhibition shows more particularly the development of jazz in Europe and France in the 30 and 40.


e route of exposure

Life, 1 July 1926 (FG Cooper, 1926) © Collection Philippe Baudoin
Life, 1 July 1926 (FG Cooper, 1926) © Collection Philippe Baudoin

The exhibition is divided into ten chronological sections connected by a "timeline", vertical window through which the exhibition will bring together works, objects and documents, scores illustrated posters, records and folders, pictures ... entrusted to evoke directly the main events in the history of jazz.

This structured timeline by year is the common thread of

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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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Afrique occidentale française

L'Afrique occidentale française (AOF) était une fédération groupant, entre 1895 à 1958, huit colonies françaises d'Afrique de l'Ouest, avec l'objectif de coordonner sous une même autorité la pénétration coloniale française sur le continent africain.

Constituée en plusieurs étapes, elle réunit à terme la Mauritanie, le Sénégal, le Soudan français (devenu Mali), la Guinée, la Côte-d'Ivoire, le Niger, la Haute-Volta (devenue Burkina Faso) et le Dahomey (devenu Bénin), soit près de 25 millions de personnes au moment de sa dissolution.

Une organisation comparable sera instaurée en Afrique-Équatoriale française en 1910

Histoire

En remplacement d'un sous-secrétariat d'État, une loi du 20 mars 1894 institue un véritable ministère des Colonies, chargé de centraliser la gestion des colonies. Tous les territoires appartenant à la France ou protégés par elle hors d'Europe en relèvent désormais. Les administrateurs sont formés par l'École coloniale.

Une nouvelle
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Image Paul Klee
Paul Klee

Born     18 December 1879
Münchenbuchsee bei Bern, Switzerland
Died     29 June 1940 (aged 60)
Muralto, Switzerland
Nationality     German/Swiss
Training     Academy of Fine Arts, Munich
Works     more than 10,000 paintings, drawings, and etchings, including The Twittering Machine (1922), Fish Magic (1925), Viaducts Break Ranks (1937).

Paul Klee (18 December 1879 – 29 June 1940) was a Swiss painter of German nationality. His highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. He was, as well, a student of orientalism. Klee was a natural draftsman who experimented with and eventually mastered color theory, and wrote extensively about it. His works reflect his dry humor and his sometimes child-like perspective, his personal moods and beliefs, and his musicality. He and his friend, the Russian painter Wassily Kandinsky, both taught at the German Bauhaus school of art and architecture.

Early life and training
“     First of all, the art of living; then as my
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Jackson Pollock

Photographer Hans Namuth extensively documented Pollock's unique painting techniques.
Birth name     Paul Jackson Pollock
Born     January 28, 1912(1912-01-28)
Cody, Wyoming
Died     August 11, 1956 (aged 44)
Springs, New York
Nationality     American
Field     Painter
Training     Art Students League of New York
Movement     Abstract expressionism
Patrons     Peggy Guggenheim

Paul Jackson Pollock (January 28, 1912 – August 11, 1956) was an influential American painter and a major figure in the abstract expressionist movement. In October 1945, he married the artist Lee Krasner.  During his lifetime, Pollock enjoyed considerable fame and notoriety. He was regarded as a mostly reclusive artist, but had a volatile personality and struggled with alcoholism all of his life. He died at the age of 44 in an alcohol-related, single-car crash. In December 1956, he was given a memorial
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Henri Matisse

Photo of Henri Matisse by Carl Van Vechten, 1933.
Birth name     Henri-Émile-Benoît Matisse
Born     31 December 1869 (1869-12-31)
Le Cateau-Cambrésis, Nord-Pas-de-Calais
Died     3 November 1954 (1954-11-04) (aged 84)
Nice, France
Nationality     French
Field     painting, printmaking, sculpture, drawing, collage
Training     Académie Julian, William-Adolphe Bouguereau, Gustave Moreau
Movement     Fauvism, Modernism
Works     Woman with a Hat (Madame Matisse), 1905

in museums:

    * Museum of Modern Art

Patrons     Gertrude Stein, Etta Cone, Claribel Cone, Michael and Sarah Stein, Albert C.
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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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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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Un rite ou rituel est une séquence d'actions stéréotypées, chargées de signification (action « symbolique »), et organisées dans le temps. Le rite n'est pas spontané: au contraire, il est réglé, fixé, codifié, et le respect de la règle garantit l'efficacité du rituel. Les deux mots rite et rituels sont issus du latin "ritus" pour le premier et de "rituales libri" (livre traitant des rites) pour le second. Le rite est un élément d'un rituel.
Les rituels peuvent intervenir dans la plupart des circonstances de la vie. On distingue ainsi des rituels sacrés (messe, prière...) et des rituels profanes (voeux de Nouvel An, manifestations sportives...); des rituels sociaux (rites de politesse, discours de promotion ou de fin d'année...) et des rituels privés (rites de la toilette, de la séduction...). Cette situation explique que les sciences humaines dans leur ensemble s'intéressent à la question: sociologie, psychologie sociale, psychopathologie, anthropologie, histoire...
On pourrait dire que tout rite est "religieux" (donc sacré) si l'on se fie au double sens étymologique de "relier" et "se recueillir", s'unir volontairement à la tradition que le rite consacre.

Opinions diverses et différentes approches

On trouve dans l'histoire des sciences humaines différentes approches des rituels: une approche que l'on pourrait qualifier d'éthologie humaine, issue notamment des travaux de Konrad Lorenz; une certaine tradition sociologique qui, depuis les travaux d'Émile Durkheim traite les rituels comme des éléments du sacré; un courant issu de la psychanalyse qui rattache les rituels sociaux à des systèmes de
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Un rite ou rituel est une séquence d'actions stéréotypées, chargées de signification (action « symbolique »), et organisées dans le temps. Le rite n'est pas spontané: au contraire, il est réglé, fixé, codifié, et le respect de la règle garantit l'efficacité du rituel. Les deux mots rite et rituels sont issus du latin "ritus" pour le premier et de "rituales libri" (livre traitant des rites) pour le second. Le rite est un élément d'un rituel.
Les rituels peuvent intervenir dans la plupart des circonstances de la vie. On distingue ainsi des rituels sacrés (messe, prière...) et des rituels profanes (voeux de Nouvel An, manifestations sportives...); des rituels sociaux (rites de politesse, discours de promotion ou de fin d'année...) et des rituels privés (rites de la toilette, de la séduction...). Cette situation explique que les sciences humaines dans leur ensemble s'intéressent à la question: sociologie, psychologie sociale, psychopathologie, anthropologie, histoire...
On pourrait dire que tout rite est "religieux" (donc sacré) si l'on se fie au double sens étymologique de "relier" et "se recueillir", s'unir volontairement à la tradition que le rite consacre.

Opinions diverses et différentes approches
On trouve dans l'histoire des sciences humaines différentes approches des rituels: une approche que l'on pourrait qualifier d'éthologie humaine, issue notamment des travaux de Konrad Lorenz; une certaine tradition sociologique qui, depuis les travaux d'Émile Durkheim traite les rituels comme des éléments du sacré; un courant issu de la psychanalyse qui rattache les rituels sociaux à des systèmes de défense collectifs... Les avancées
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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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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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Image Alberto Giacometti
Alberto Giacometti

Alberto Giacometti (October 10, 1901 – January 11, 1966) was a Swiss sculptor, painter, draftsman, and printmaker.


Biography

Early life

Alberto Giacometti was born in Borgonovo, now part of the Swiss municipality of Stampa, near the Italian border. His father, Giovanni Giacometti, was a painter. Alberto attended the School of Fine Arts in Geneva. In 1922 he moved to Paris to study under the sculptor Antoine Bourdelle, an associate of Auguste Rodin. It was there that Giacometti experimented with cubism and surrealism and came to be regarded as one of the leading surrealist sculptors. Among his associates were Joan Miró, Max Ernst, Pablo Picasso and Balthus.

Between 1936 and 1940, Giacometti concentrated his sculpting on the human head, focusing on the model's gaze, followed by a unique artistic phase in which his statues became stretched out; their limbs elongated. Obsessed with creating his sculptures exactly as he envisioned through his unique view of reality, he often carved until they were as thin as nails and reduced to the size of a pack of cigarettes, much to his consternation. A friend of his once said that if Giacometti decided to sculpt you, "he would make your head look like the blade of a knife." After his marriage his tiny sculptures became larger, but the larger they grew, the thinner they became. Giacometti said that the final result
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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 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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The Yoruba

The Yoruba people live on the west coast of Africa in Nigeria and can also be found in the eastern Republic of Benin and Togo. Because the majority of the slaves brought to the Americas were from West Africa Yoruban descendants can also be found in Brazil, Cuba, the Caribbean, and the United States. There are also many Yoruba currently living in Europe, particularly Britain, since Nigeria was once a British colony. The Yoruba are one of the largest cultural groups in Africa. Currently, there are about 40 million Yoruba world-wide. The Yoruba have been living in advanced urban kingdoms for more than 1,500 years. They created a strong economy through farming, trading, and art production. Their outstanding and unique artistic traditions include woodcarving, sculpture, metal work, textiles, and beadwork.

West Africans, such as the Yoruba, have lived in urban societies and have produced extraordinary art work since the 5th century BC. During this time, the Yoruba began to use iron to create metal tools and weapons such as machetes, axes, and hoes. These tools made it easier for the Yoruba to farm the land. They planted crops including yams, their staple food. They also harvested the seeds from the palm oil tree. The seeds from this tree produce a vegetable oil that is used for cooking. Kola nuts were also grown and harvested. Soon the Yoruba began trading with neighboring areas for rice and sorghum. Due to increased agriculture, the Yoruba community began to grow in size and large towns were created. They arranged their communities by clan lines, or extended families. Families who had the same ancestors lived next door to each other in large compounds. An elder was put in charge as the
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The Metropolitan Museum of Art is an art museum located on the eastern edge of Central Park, along what is known as Museum Mile in New York City, USA. It has a permanent collection containing more than two million works of art, divided into nineteen curatorial departments. The main building, often referred to simply as "the Met," is one of the world's largest art galleries, and has a much smaller second location in Upper Manhattan, at "The Cloisters," which features medieval art.

Represented in the permanent collection are works of art from classical antiquity and Ancient Egypt, paintings and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met also maintains extensive holdings of African, Asian, Oceanic, Byzantine and Islamic art. The museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of notable interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Met's galleries.

The Metropolitan Museum of Art was founded in 1870 by a group of American citizens. The founders included businessmen and financiers, as well as leading artists and thinkers of the day, who wanted to open a museum to bring art and art education to the American people. It opened on February 20, 1872, and was originally located at 681 Fifth Avenue.

As of 2007, the Met measures almost a quarter mile long and occupies more than two million square feet.
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The Museum of Fine Arts in Boston, Massachusetts, is one of the largest museums in the United States attracting over one million visitors a year. It contains over 450,000 works of art, making it one of the most comprehensive collections in the Americas. The museum was founded in 1870 and its current location dates to 1909. In addition to its curatorial undertakings, the museum is affiliated with an art academy, the School of the Museum of Fine Arts, and a sister museum, the Nagoya/Boston Museum of Fine Arts, in Nagoya, Japan. The current director of the museum is Malcolm Rogers.

History
Boston Museum of Fine Arts building, Back Bay occupied from 1876 - 1909

The Museum was founded in 1870 and opened in 1876, with a large portion of its collection taken from the Boston Athenaeum Art Gallery. Francis Davis Millet was instrumental in starting the Art School attached to the Museum and getting Emil Otto Grundmann (1844 - 1890) appointed as its first director.

Originally located in a highly ornamented terra cotta brick Gothic Revival building designed by John Hubbard Sturgis and located on Copley Square in the Back Bay neighborhood of Boston, it moved to its current location on Huntington Avenue, Boston's "Avenue of the Arts," in 1909.

The museum's present building was commenced in 1907, when museum trustees hired architect Guy Lowell to create a master plan for a museum that could be built
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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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