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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 : 'images'


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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THE PAINTINGS OF CHURCH ABBA ANTONIOS


The paintings on canvas of Abba Antonios church in Gondar in Ethiopia were collected by Marcel Griaule and his team at the Dakar-Djibouti mission in 1932. They probably date from the late eighteenth century and measure (for the pieces installed at the Musée du Quai Branly) about 2.3 meters high. All bear the inventory numbers from 31.74.3584 to 31.74.3630.

DESCRIPTION

The paintings in the church are made Abba Antonios egg on a canvas backing. They are mainly figures of saints, or episodes of Christian history (Old and New Testament apocryphal writings), arranged in superimposed registers.
At the Musée du Quai Branly, the totality of what has been harvested (60 sq.m.) is not exposed. In the room devoted to Ethiopian paintings, on the right shows a St. George, followed by a representation of God overcoming the Covenant of Grace and twelve priests of Heaven, from the west wall of the church. Opposite the entrance, three holy knights recognizable opponents it lands (small naked figures for St. Theodore, a centaur, a lion's body and tail shaped double snake for St. Claude, the emperor Julian the apostolate who tried to restore paganism to holy Mercury) overcome the images of the first Christian martyrs who have proclaimed the Gospel, namely John the Baptist, St. Paul, St. Peter and St. Etienne. Finally on the left wall you can see four of the kings of the Old Testament in the upper register (David, Solomon, Hezekiah and Josiah) and a couple of

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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
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Le collectionnisme renvoie, chez les aristocrates puis les personnes fortunées, à un hobby visant à établir des collections d'objets d'art.
L'accumulation ostentatoire d'objets d'art observée pour les aristocrates de la botte italienne pendant les diverses phases de la Renaissance artistique, goût pour le prestige et preuve de bonne fortune qui s'est propagé pour tous les Grands des cours d'Europe. Cette propension à l'accumulation confinant au goût du lucre est particulièrement observable pour le cardinal de Rome Scipion Borghèse, qui notoirement utilisa ses pouvoirs pour faire enfermer des propriétaires de belles peintures qu'il convoitait, afin de mettre la main sur leurs collections. À Florence, le trait commun aux membres de la Maison de Médicis fut des siècles durant le collectionnisme, tout comme la cynégétique fut celui des Capétiens ; ainsi Léopold de Médicis qui collectionna une série importante d'autoportraits qui se trouve dans le corridor de Vasari.

Une collection est à la fois un regroupement d'objets correspondant à un thème, et l'activité qui consiste à réunir, entretenir et gérer ce regroupement.
Il peut s'agir d'un loisir : la personne qui constitue et stocke la collection est alors un collectionneur. Ce peut aussi être une profession, celle de conservateur : conservateur de musée (collections d'œuvres d'art, d'objets rares ou anciens), conservateur de bibliothèque ou d'archive (fonds regroupant des
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Anne-Louise Amanieu
Ecole du Louvre
Spécialité Arts de l'Afrique
Février 2008

LES PEINTURES DE L'EGLISE ABBA ANTONIOS

Les peintures sur toile de l'église Abba Antonios de Gondar en Ethiopie ont été collectées par Marcel Griaule et son équipe lors de la mission Dakar-Djibouti en 1932. Elles datent sûrement de la fin du XVIIième siècle et mesurent (pour les morceaux installés au Musée du Quai Branly) environ 2,3 mètres de haut. L'ensemble porte les numéros d'inventaire allant de 31.74.3584 à 31.74.3630.

DESCRIPTION

Les peintures de l'église Abba Antonios sont faites à base d'œuf, sur un support de toile. Elles représentent essentiellement des figures de saints ou des épisodes de l'histoire chrétienne (Ancien et Nouveau Testament, écritures apocryphes), disposés dans des registres superposés.
Au Musée du Quai Branly, la totalité de ce qui a été récolté (environ 60m²) n'est pas exposée. Dans la salle consacrée aux peintures éthiopiennes, à droite on peut voir
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Sarah Lagrevol
Ecole du Louvre
Spécialité Arts de l'Afrique

INTRODUCTION
    
    L'Ethiopie, vaste pays mentionné dès le Ier siècle dans le récit grec Le périple de la Mer Erythrée, suscite un engouement particulier de la part des Européens.  Cette Ethiopie rêvée continue au Moyen Age avec le mythe du royaume du Prêtre jean.  
Depuis la conversion du pays au IVe siècle de notre ère, le monde chrétien est omniprésent et accompagne les fidèles dans leur vie quotidienne. Le symbole de la croix, marque distinctive des dévots et image de rédemption, est présent sur tous types de supports (peinture, sculpture, décor architectural, objet façonné…) et de nombreuses interprétations lui sont attachées. Ces croix participent aussi par la bénédiction et les pratiques d'exorcisme à protéger les fidèles et à les soigner spirituellement. Les différents types de médecines pratiquées donnent également lieu à la production de rouleaux aux vertus " magiques " qui chassent ou apaisent les esprits habitant le patient.

    De par l'étude de la
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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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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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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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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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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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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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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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Sculpture dedicated to Gou divinity of wrought iron and war
Work iron 168cm in height made before 1858 by Akati Ekplékendo
Current Republic of Benin

Lauren Papet, Ecole du Louvre


Arrival in French collections and identification problems

This statue has been reported in France in 1894 by Captain Eugene Fonssagrives following the conquest of Dahomey. It belonged to the spoils of war found in the palaces of Abomey, abandoned by the fleeing King Behanzin, who himself had perhaps made on the side in preparation for the French attack in the hope that the god help protect the kingdom on its most vulnerable border. She was then given directly to the Trocadero Museum of Ethnography, the current Museum of Man (recorded April 30, 1894).

First Fonssagrives was presented as was a representation of Ebo, patron god of Ouidah thesis refuted by Maurice Delafosse in 1894, indicating that the divinity of Ouidah is not the serpent but Ebo Dan. The name "Ebo" would have probably been given Fonssagrives response when he asked what the object (Bo meaning receptacle of supernatural forces). She was named Gou, its present name after World War II, his resemblance to the voodoo (god) of iron and protector of the forge, metal and war have been considered fairly obvious.

Technical Achievement

Government also has a variety of techniques to work with iron: forged, rolled, hammered, nailed and riveted.

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Paul Klee, (prononcer "Klé"), est né le 18 décembre 1879 à Münchenbuchsee, près de Berne en Suisse et mort le 29 juin 1940. C'est un peintre suisse.

 

 Biographie

 Années de formation
Il grandit dans une famille de musiciens : sa mère, Ida, est chanteuse professionnelle, et son père, citoyen allemand, est professeur de musique dans la capitale helvétique. C'est de lui que Klee hérite son amour pour la musique. Lui-même excelle très tôt dans l'apprentissage du violon. À l'automne 1898, ayant terminé ses "examens de maturité" (baccalauréat) pour devenir avocat, il commence ses études de peinture à Munich, d'abord dans l'atelier particulier de Knirr, puis à l'Académie, sous la direction de Franz von Stuck. En 1899, il rencontre sa future femme, Lily Stumpf (*1876-†1946), une pianiste. En 1900, il s'inscrit à l'académie des beaux-arts de Munich où il cotoie Vassily Kandinsky. Il passe l'hiver 1901-1902 en Italie et visite Rome, Naples, Florence. Il se laisse prendre par le charme de l'architecture de la Renaissance, de Michel-Ange et des premiers maîtres du Quattrocento. Quelques voyages occasionnels le conduisent à Munich, où il découvre en 1904, Aubrey Beardsley, William Blake, Francisco Goya, James Ensor, puis à Paris en 1905. Il retourne à Munich à la fin de 1906 pour y épouser Lily Stumpf avec qui il aura un seul fils, Félix, né en 1907 et mort en 1990.


 Premières œuvres
À l'exposition de Munich, il fait la connaissance des oeuvres de Vincent van Gogh et de Paul Cézanne. Il y expose ses

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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 / Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com

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David Norden
http://users.telenet.be/african-shop/kerchache.htm

In a crucial moment for the world of Tribal Arts, Ana &Antonio Casanovas from Arte y Ritual and Alain Bovis Gallery present two consecutive exhibitions in Paris with a selection of masterworks from the Kerchache collection:

1.”HOMMAGE” June 16-July 22 2006
2. “NIGERIA” September 13th –October 20th 2006

“HOMAGE TO JACQUES KERCHACHE”

WHY?

The Quai Branly

We want to pay an HOMAGE to Jacques Kerchache and , in his name, give support to an important historical event : the opening of the Quai Branly,one of the most important museums in the world dedicated entirely to “les Arts Premiers”. Jacques was first appointed to asses the selection of art works for the “Pavillion des Sessions” in the Louvre Museum which was conceived as an antennae of the Quai Branly.He had a crucial role in the creation of this innovative museum and was an important member of the Acquisition Committee.

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es Statues Also Die is a French documentary short film directed by Chris Marker, Alain Resnais and Ghislain Cloquet released in 1953. Artistic Advisor: Charles Ratton.

It was sponsored by the Pan-African journal Presence Africaine. Starting from the question "Why art negro is there at the Museum of Man while Greek or Egyptian art is the Louvre? ', Both filmmakers denounced the lack of consideration for African art in a context of colonization. The film was censored in France for eight years because of his views anti-colonialist.

"When men are dead, they make history. When the statues are dead, they enter into art. This Botanical death is what we call culture.

Because the people of the statues is mortal. One day, our stony faces break down in turn. A civilization is leaving behind traces such as mutilated stones of Tom Thumb, but history has eaten everything. An object is dead when the living gaze which rested on him has disappeared, and when we lost our items will go where we send those negroes in the museum.

Art negro. We look as if it was his purpose in the pleasure it gives us. The intentions of the negro who created the emotions of the negro who looks at it, it eludes us. Because they are written into the woods, we take their ideas for statues, and we find the picturesque where a member of the black community sees the face of a culture.

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P R E F A C E


In one of the chaos of rocks the most amazing of Africa, has a population of farmer-warriors who was one of the last of the French domain to lose its independence.


For most whites in West Africa, the Dogon are dangerous men, if not the most backward of the Federation. Ilspassent to practice human sacrifice and even to defend themselves better against all the outside influences that they live a difficult country. Some writers have told their small fears when supposedly daring excursions. From these legends and the pretext of revolts often due to misunderstandings, it has sometimes taken in exile of entire villages.


In short, the Dogon represent one of the finest examples of primitive savage and this opinion is shared by some black Muslims who, intellectually, are not better equipped than whites to appreciate those of their fellow faithful to ancestral traditions. Only officials who have assumed the heavy task of administering these men have learned to love them.


The author of this book and its many teammates attend the Dogon past fifteen years. They published the work of these men who are now the people's best-known French Sudan: The Souls of the Dogon (G. Dieterlen, 1941), The Currency (S. OF GANAY 1941), Masks (M. Griaule, 1938) have brought to scholarly evidence that blacks lived on complex ideas, but ordered, on systems of institutions and rituals where nothing is left to chance or whim. This work, already ten years ago, drew

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