By continuing your visit to this site , you accept the use of cookies to provide content and services best suited to your interests.
 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 : 'esprit'

Statue féminine Anjenu
Statue féminine Anjenu
€ 45,000.00
Kifwebe mask, Songye people, Democratic Republic of Congo
Kifwebe mask, Songye people, Democratic Republic of Congo
€ 8,500.00
Female Kifwebe mask, Songye, Democratic Republic of Congo
Female Kifwebe mask, Songye, Democratic Republic of Congo
€ 12,000.00

Vassily Kandinsky (Vassili Vassilievitch Kandinski, en russe : Василий Васильевич Кандинский) est un peintre russe et un théoricien de l’art né à Moscou le 4 décembre 1866 et mort à Neuilly-sur-Seine le 13 décembre 1944.

Considéré comme l’un des artistes les plus importants du XXe siècle aux côtés notamment de Picasso et de Matisse, il est le fondateur de l'art abstrait : il est généralement considéré comme étant l’auteur de la première œuvre non figurative de l’histoire de l’art moderne, une aquarelle de 1910 qui sera dite "abstraite". Certains historiens ou critiques d'art ont soupçonné Kandinsky d'avoir antidaté cette aquarelle pour s'assurer la paternité de l'abstraction sous prétexte qu'elle ressemble à une esquisse de sa Composition VII de 1913[réf. souhaitée].

Kandinsky est né à Moscou mais il passe son enfance à Odessa. Il s'inscrit à l’Université de Moscou et choisit le droit et l’économie. Il décide de commencer des études de peinture (dessin d’après modèle, croquis et anatomie) à l’âge de 30 ans.

En 1896 il s’installe à Munich où il étudie à l’Académie des Beaux-Arts. Il retourne à Moscou en 1918 après la révolution russe. En conflit avec les théories officielles de l’art, il retourne en Allemagne en 1921. Il y enseigne au Bauhaus à partir de 1922

See the continuation... ]


Image Motherhoods

MOTHERHOODS

 

ART GALLERY L'OEIL ET LA MAIN

41 RUE DE VERNEUIL 75007 PARIS

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

 WWW.AFRICAN-PARIS.COM


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

Very often mother and child do not set up a
See the continuation... ]


Image Regards noirs

The eyelids are lowered but the eye is not completely closed. This is thus not about a dream. But what can one see
well under these conditions? They say they look beyond, this world that we cannot see normally but which the mask
can contact. The people of Africa imagined the dances of the masks to try to regulate problems which emerged to
the alive ones because of the dissatisfaction of the spirits. The dancer is thus inhabited by the spirit that the
mask represents, and he translates it in its dance. The masks themselves are secondary even if we are struck by
their plastic quality and the extreme diversity of the forms, even in the same ethnic group. However similar
plastic solutions are rather largely found. Thus the half-closed eye is a feature that we can find in many corpus.
The previous exhibition of the gallery L'Oeil et la Main presented a whole of masks portraits of the Cameroon and
there the eyes were wide opened. The fact to show the personnality of a character, not a state of intercession,
justifies the use of realism if this is that of the caricature. Quite to the contrary, in the present exhibition
we've selected various masks where the treatment of the eyes - any round
See the continuation... ]

Primitive arts in Kaos
Le Journal des Arts - n ° 220 - September 9, 2005

The young Parisian journey Kaos has quickly become the global meeting place among lovers of primitive art. With a fourth edition even richer.
It took only two years at Kaos-Course Worlds in Paris Saint-Germain-des-Prés, home of the primitive arts, to win. Modeled on that of Bruneaf Brussels (Brussels Non European Art Fair), Kaos is an open event bringing together specialist dealers concentrated in one area (ie, exhibiting in their walls or hosted by other galleries). But while Bruneaf is losing momentum in recent years, Kaos is getting stronger. Created in 2002 from an idea by Rik Gadella (among other founder of Paris Photo), the appointment of Parisian art lovers first hosted the first year 21 galleries around the axis of the Rue de Seine, then 40 participants in 2003. The formula took off in 2004 with 51 exhibitors from around the world and has already reached international fame. This latest edition was also shown the excesses of the success of Kaos: merchants had refused leased spaces on the course to enjoy the commercial success generated by the event. Without dwelling on the subject, "not to do their advertising, its management announced a reinforcement of the signage" Kaos "to foreclose any parasites.

Must
This year, 55 galleries will open the festivities on the evening of Sept. 14, in a friendly atmosphere that gives the event a very special charm

See the continuation... ]

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

See the continuation... ]

Pietro Paolo Savorgnan di Brazzà ou Pierre Paul François Camille Savorgnan de Brazza en français, né à Castel Gandolfo le 26 janvier 1852 et mort à Dakar le 14 septembre 1905, est un explorateur italien naturalisé français. Il explora la rive droite du fleuve Congo ouvrant la voie à la colonisation française en Afrique équatoriale. Sa bonhommie, son charme, son approche pacifique des Africains faisaient de Brazza une figure d’exception parmi ses contemporains qui exploraient l’Afrique au nom des grandes puissances occidentales.

Un explorateur pacifique et altruiste

Élevé à Rome, sous le nom de « Pietro Paolo Savorgnan di Brazzà », le futur explorateur est le septième fils des douze enfants du comte Ascanio Savorgnan di Brazzà, un noble d’Udine. Cet homme cultivé et voyageur avait de nombreux amis français, dont le prestigieux amiral Louis de Montaignac. Avec son soutien et celui de son précepteur, Pietro vient à Paris et suit les cours du collège Sainte-Geneviève pour préparer le concours d’entrée à l’École navale de Brest. Il y rentre à 17 ans, en ressort enseigne de vaisseau et embarque sur la Jeanne d’Arc pour l’Algérie. Là-bas, il est horrifié par la violence de la répression de la révolte kabyle par les troupes françaises. La guerre de 1870 est alors déclarée : il veut être affecté dans une unité combattante. Il en profite pour demander la naturalisation française et se retrouve sur le

See the continuation... ]

Jean Rouch

Jean Rouch (Paris - 31 May 1917, Niger - 18 February 2004) was a French filmmaker and anthropologist.

He is considered to be one of the founders of the cinéma vérité in France, sharing the aesthetics of the direct cinema in the US pionered by Richard Leacock,D.A. Pennebaker and Albert and David Maysles. Rouch's practice as a filmmaker for over sixty years in Africa, was characterized by the idea of shared anthropology. Influenced by his discovery of surealism in his early twenties, many of his films blur the line between fiction and documentary, creating a new style of ethnofiction. He was also hailed by the French New Wave as one of theirs. His seminal film Me a Black (Moi un Noir) pionered the technique of jump cut popularized by Jean-Luc Godard. Godard said of Rouch in the Cahiers du Cinéma (Notebooks on Cinema) n°94 April 1959 "In charge of research for the Musée de l'Homme (French, "Museum of Man") Is there a better definition for a filmmaker?". Along his career, Rouch was no stranger to controversy. He would often repeat "Glory to he who brings dispute".

Biography

He began his long association with African subjects in 1941 after working as civil engineer supervising a construction project in Niger. However, shortly afterwards he returned to France to participate in the Resistance. After the war, he did a brief stint as a journalist with Agence France-Presse before returning to Africa where he become an influential anthropologist and sometimes controversial
See the continuation... ]

Masques du Gabon

Les masques traditionnels ont toujours tenu une place importante au sein des cultures gabonaises. Chaque ethnie a les siens, dédiés à des cérémonies variées mais toutes importantes dans le rythme de vie de ces populations.

Masque Okuyi

Les masques Okuyi sont utilisés dans la tribu Myénée. Ils sont utilisés pour accompagner les funérailles ou les retraits de deuil.

Symbolique et utilisation

Ce sont des masques d'ancêtres. Ils expriment la sérénité de leurs anciens qui les protègent et les conseillent depuis le royaume des morts. Le porteur du masque est recouvert d'un costume de raphia. Durant les cérémonies, il pousse des cris sauvages destinés à effrayer les spectateurs.

Les masques noirs sont quant à eux probablement dotés d'une fonction judiciaire.

Caractéristiques

Masque anthropomorphe blanc, sa face est peinte au kaolin. La couleur blanche du kaolin est
See the continuation... ]

African traditional religion

African traditional religions, also referred to as African indigenous religions or African tribal religions, is a term referring to a variety of religions indigenous to the continent of Africa. Like tribal religions from other parts of the world, African religious traditions are defined largely along community lines.

Traditional African religions involve teachings, practices, and rituals that lend structure to indigenous African societies. These traditional African religions also play a large part in the cultural understanding and awareness of the people of their communities.


African Traditional Religion and Language

Most traditional African religions have, for most of their existence, been orally/spiritually (rather than scripturally) transmitted. Thus, linguistic experts such as Christopher Ehret and Placide Tempels have applied their knowledge of languages towards reconstructing the original core beliefs of the followers of these traditions. The four linguistic phylums spoken in Africa are: Afro-Asiatic, Nilo-Saharan, Niger-Congo, and Khoi-San.

Afro-Asiatic Spirituality

According to linguist Christopher Ehret, traditional religion among Afro-Asiatic-speaking (Afrasan) peoples was originally henotheistic in nature. In this sense, each clan gave
See the continuation... ]

Mali Empire

The Mali Empire or Manding Empire or Manden Kurufa was a West African civilization of the Mandinka from c. 1230 to c. 1600. The empire was founded by Sundiata Keita and became renowned for the wealth of its rulers, especially Mansa Musa I. The Mali Empire had many profound cultural influences on West Africa allowing the spread of its language, laws and customs along the Niger River. The Mali empire extended over an area larger than western Europe and consisted of numerous vassal kingdoms and provinces.

Manden

1235-1600's. The Mali Empire grew out of an area referred to by its contemporary inhabitants as Manden. Manden, named for its inhabitants the Mandinka (initially Manden’ka with “ka” meaning people of), comprised most of present-day northern Guinea and southern Mali. The empire was originally established as a federation of Mandinka tribes called the Manden Kurufa (literally Manden Federation), but it later became an empire ruling millions of people from nearly every ethnic group in West Africa.

Etymology

The naming origins of the Mali Empire are complex and still debated in scholarly circles around the world. While the meaning of “Mali” is still contested, the process of how it entered the regional lexicon is not. As mentioned earlier, the Mandinka of the Middle Ages referred to their ethnic homeland as “Manden”.
See the continuation... ]

Histoire de l'Empire du Wagadu
http://www.soninkara.com/histoire-geographie/histoire/histoire-de-lempire-du-wagadu.html

Les arabes ont été les premiers étrangers à établir des relations avec l'ancien Empire Soninké du Ghana. Les premiers écrits aussi parlant de l'histoire de l'Empire du Ghana proviennent d'historiens et de voyageurs arabes de l'époque de l'empire. Ce document , traduit de l'anglais de l'auteur Nazif ADAMS relate l'histoire de l'Empire du Ghana racontée dans les écrits des historiens et voyageurs arabes de l'époque.

Introduction

Personne ne sait exactement quand la nation de l'ancien empire Ghana a été découverte. Ce qui est connu de nos jours provient des écrits des voyageurs arabes, marchands et historiens, qui ont été là-bas pour le commerce ou pour visiter. Cependant bien avant que les Arabes écrivent sur l'histoire des Africains, d'autres peuples anciens avaient décrit le continent.

Environ 520 avant J.C., on dit qu'un un roi de Perse, nommé "Cambyses", avait missionné des hommes pour découvrir le soudan (Afrique de l'ouest). Les résultats de leur découverte se trouvent dans les récits du grand écrivain Herodotus. Ils montrent que bien avant la naissance du Christ, les royaumes du Soudan avaient un modèle de civilisation de haut
See the continuation... ]

Le bambara, aussi connu sous le nom de bamanankan, est une langue parlée par plus de 10 millions de personnes, principalement au Mali. De nombreuses autres personnes parlent également cette langue, ou des dialectes, dans d'autres pays voisins comme le Burkina Faso, la Côte d'Ivoire, la Guinée et la Gambie. Les différences entre le bambara et le malinké et le dioulasont minimes, cette dernière langue étant parlée ou comprise par une quinzaine de millions de personnes en Afrique de l'Ouest (notamment Burkina Faso, Côte d'Ivoire, et Gambie).

La langue est fortement influencée par le français.

Répartition géographique

Le bambara est une langue nationale du Mali, et constitue la langue la plus communément comprise dans le pays.

Les principaux dialectes du bambara sont : somono, segou, san, beledugu, ganadugu, wasulu et sikasso.

Dioula[modifier]

Le dioula est relié au bambara de la même façon que l'anglais des États-Unis est lié à l'anglais d'Angleterre. C'est probablement la langue la plus utilisée pour le commerce en Afrique de l'Ouest.

See the continuation... ]


Image Claude Levi-Strauss
Claude Lévi-Strauss


20th-century philosophy
Full name     Claude Lévi-Strauss
Born     28 November 1908 (1908-11-28) (age 100)
Brussels, Belgium
School/tradition     Structuralism

Claude Lévi-Strauss; born 28 November 1908) is a French anthropologist.

Biography

Claude Lévi-Strauss, born in Brussels, grew up in Paris, living in a street of the 16th arrondissement named after the artist Nicolas Poussin, whose work he later admired and wrote about. Lévi-Strauss's father was also a painter, and Claude was born in Brussels because his father had taken a contract to paint there.

At the Sorbonne in Paris, Lévi-Strauss studied law and philosophy. After an epiphany resulting from a late night conversation strolling around the grounds of True's Yard, King's Lynn with renowned cryptozoologist Lewis Daly,he did not pursue his study of law but agrégated in philosophy in 1931. In 1935, after a few years of secondary-school teaching, he took up a last-minute offer to be part of a French cultural mission to Brazil in which he
See the continuation... ]

FORCE ET MESURE

Elaborer une esthétique de l'Afrique noire apparaît comme une entreprise hasardeuse à bien des égards. Est-il légitime d'isoler ces objets, qu'aujourd'hui nous qualifions d'œuvres d'art, du cadre général de leurs relations et de leurs contraintes culturelles ? Peut-on les soumettre à un critère qui n'a jamais existé dans la pensée de leurs créateurs ? Et peut-on, enfin, voir dans cet art - si l'on s' en tient à ce terme - un phénomène uniforme, malgré la grande variété de styles tant régionaux que locaux que nous offre cet énorme continent, à la suite de longues évolutions historiques souvent mal connues ? Enfin, n'oublions pas que cette approche exclut de vastes régions, notamment l' Afrique blanche, c' est à dire la zone méditerranéenne avec son histoire millénaire ; l'Afrique orientale et méridionale dont les peuples de pasteurs ont donné naissance à des cultures pratiquement sans images ; et enfin ces sociétés de chasseurs, qui, encore à notre époque, n'ont pas dépassé le stade d'évolution de la préhistoire et dont les peintures rupestres constituent le principal témoignage d'une production artistique qui apparaît en divers points du continent. De même, il nous faut exclure de notre contribution à une esthétique de l'art d'Afrique noire les anciennes sociétés féodales, notamment le Bénin. Notre réflexion se borne donc aux vastes régions paysannes, véritable berceau de la sculpture sur bois.

See the continuation... ]

Jacques Kerchache


Vie des objets de surface

Les objets rituels, masques, statues, mobilier, utilisés en surf ace, jouent dans la société africaine traditionnelle, m rôle bien plus important que les objets funéraires, destinés à'être enterrés. Il faut leur adjoindre une petite quantité de pièces au double emploi (parures, mobilier sacré) qui accompagnent le mort dans sa tombe, comme à Igbo-Ukwu au Nigeria, ou certains objets funéraires trouvés fortuitement et réutilisés en surface, comme chez les Kissi en Guinée, ceux de la culture nok ou de celle d'Owo au Nigeria.

En Afrique, les esprits sont partout présents. Un homme devient souvent plus important après sa mort que pendant sa vie. Les signes de surface fonctionnent par ensembles et sous-ensembles, dans un rapport étroit entre le rôle qu'ils jouent et celui de leurs manipulateurs ; il existe des objets collectifs (souvent les masques), semi-collectifs (de nouveau les masques et une petite partie de la statuaire) et ceux -particulièrement des statuettes- réservés aux sages, mémoire vivante de la communauté. Ceux-ci réactualisent continuellement les objets dans les relations qu'ils entretiennent avec le monde extérieur (événements historiques, contacts avec l'islam, le christianisme, migrations, guerres, alliances) et le monde intérieur (esprits, mort, rêves). Autour

See the continuation... ]

Maurice de Vlaminck

Maurice de Vlaminck. The River Seine at Chatou, 1906
Born     4 April 1876(1876-04-04)
Paris, France
Died     11 October 1958 (aged 82)
Nationality     French
Field     Painting

Maurice de Vlaminck (4 April 1876 – 11 October 1958) was a French painter. Along with André Derain and Henri Matisse he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense color.


Maurice de Vlaminck was born in Paris to a family of musicians. His father taught him to play the violin.He began painting in his late teens. In 1893, he studied with a painter named Henri Rigalon on the Ile de Chatou. In 1894 he married Suzanne Berly. The turning point in his life was a chance meeting on the train to Paris towards the end of his stint in the army. Vlaminck, then 23, met an aspiring artist, André Derain, with whom he struck up a life-long friendship. When Vlaminck completed his army service in 1900, the two rented a studio together for a year before Derain left to do his own military service. In 1902 and 1903 he wrote several mildly pornographic novels illustrated by Derain.He
See the continuation... ]


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.
See the continuation... ]


Image André Breton
André Breton

André Breton (February 19, 1896 – September 28, 1966) was a French writer, poet, and surrealist theorist, and is best known as the principal founder of Surrealism. His writings include the Surrealist Manifesto of 1924, in which he defined surrealism as "pure psychic automatism".

Biography

Born to a family of modest means in Tinchebray (Orne) in Normandy, he studied medicine and psychiatry. During World War I he worked in a neurological ward in Nantes, where he met the spiritual son of Alfred Jarry, Jacques Vaché, whose anti-social attitude and disdain for established artistic tradition influenced Breton considerably. Vaché committed suicide at age 24 and his war-time letters to Breton and others were published in a volume entitled Lettres de guerre (1919), for which Breton wrote four introductory essays.

From Dada to Surrealism

In 1919 Breton founded the review Littérature with Louis Aragon and Philippe Soupault. He also connected with Dadaist Tristan Tzara. In 1924 he was instrumental to the founding of the Bureau of Surrealist Research.

In The Magnetic Fields (Les Champs Magnétiques), a collaboration with Soupault, he put the principle of automatic writing into practice. He published the Surrealist Manifesto in 1924, and was editor of La
See the continuation... ]

For children, play is a way to project their future social role. Traditionally, Africa, the slingshot can practice hunting, dolls prepare to be a mother. But in Africa, the same objects are sometimes used by adults. The "toys" to load defaults and then become ritual objects decorated accordingly. They are then intended to deal with the spirits of the afterlife that are everywhere. It is true of "dolls" made by women who want a child. These dolls are the subject of fertility care. They are fed, washed, transported like real babies. Thus, among the Mossi, the biga is increased until birth and care she receives before the newborn. Among the Yoruba, the child timber is filled with the spirit of the model. The Ibeji, representing the twin died? is also the object of attentive care of the mother. She takes care throughout his life, and female offspring of mothers who receive the ibeji legacy, continued to provide care. The child remains well among his own people.

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

See the continuation... ]

Art

Art

Art is the process or product of deliberately arranging elements in a way that appeals to the senses or emotions. It encompasses a diverse range of human activities, creations, and modes of expression, including music and literature. The meaning of art is explored in a branch of philosophy known as aesthetics.

The definition and evaluation of art has become especially problematic since the early 20th century. Richard Wollheim distinguishes three approaches: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans. An object may be characterized by the intentions, or lack thereof, of its creator, regardless of its apparent purpose. A cup, which ostensibly can be used as a container, may be considered art if intended solely as an ornament, while a painting may be deemed craft if mass-produced.

Traditionally, the term art was used to refer to any skill or mastery. This conception changed during the Romantic period, when art came to be seen as "a special faculty of the human mind to be classified with religion and science". Generally, art is made with the intention of stimulating thoughts and emotions.

The nature of art has been described by Richard Wollheim as "one of the most elusive of the traditional problems of human culture". It has been defined
See the continuation... ]

Pages 1 2 3 4 5 6
Search
Translations
Menu
Newsletter
Links
Publicités