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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
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Result of the research Result of the research : 'images'




 

The Quai Branly museum is set on quai Branly in the 7th district of Paris, where was located the Foreign Exchange Market Department. Ambitious project led by Jacques Chirac (passionated by « primitive art ») and realised by Jean Nouvel, it has been unveiled the 20th of June 2006.

History

Jacques Kerchache, art seller and african art expert, tried from the begining of the 1990’s to bring the « primitive arts » into the Louvre museum. In 1990 he signed in the newpaper Libération an article on this topic ; the same year he met Jacques Chirac, then mayor of Paris.

The latter is elected president of the Republic in 1995. As soon as he arrived at the head of the State, he askes for the opening of a primitive art department at the Louvre museum. One year later he announced the project of creation of a new museum, which quickly meet an opposition, especially  with a strike of the personnal of the Man museum in 1999, to stand in the way of the disassembly of the museum’s collections and criticize the primacy of the aesthetic choice instead of the scientific factors.

An architecture competition is sent out in 1999, designating Jean Nouvel as the architect.

This museum is unveiled the 20th of June 2006 by Jacques Chirac, in the presence of Kofi Annan, Rigoberta Menchú, Paul Okalik, Dominique de Villepin, Lionel Jospin and Jean-Pierre Raffarin. The Quai Branly museum has the status of public administratove institution. It’s placed under the guardianship of the Department of Culture and

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Mukudj Mask, 19th–20th century
Punu people, Gabon
Wood, pigment, kaolin; H. 13 1/2 in. (34.3 cm)
Purchase, Louis V. Bell Fund and The Fred and Rita Richman Foundation and James Ross Gifts, 2000 (2000.177)

The Metropolitan Museum of Art

 


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

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Tristan Tzara (born Samuel or Samy Rosenstock, also known as S. Samyro; April 4 or April 16, 1896 – December 25, 1963) was a Romanian and Frenchavant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishmentDada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolulwith Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland. There, Tzara's shows at the Cabaret Voltaire and Zunfthaus zur Waag, as well as his poetry and art manifestos, became a main feature of early Dadaism. His work represented Dada's nihilisticside, in contrast with the more moderate approach favored by Hugo Ball.

After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of Littérature magazine, which marked the first step in the movement's evolution toward Surrealism. He was involved in the major polemics which led to Dada's split, defending his principles against André Breton and Francis Picabia, and, in Romania, against the eclecticmodernism of Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas Heart (1921) and Handkerchief of Clouds (1924). A forerunner of automatist techniques, Tzara eventually rallied with Breton's Surrealism, and, under its influence, wrote his celebrated utopianpoem The Approximate Man.

During the final part of his career, Tzara combined his humanist and anti-fascistperspective with a

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Julien Michel Leiris (April 20, 1901 in Paris – September 30, 1990 in Saint-Hilaire, Essonne) was a Frenchsurrealistwriter and ethnographer.

Biography

Michel Leiris obtained his baccalauréat in philosophy in 1918 and after a brief attempt at studying chemistry, he developed a strong interest in jazz and poetry. Between 1921 and 1924, Leiris met a number of important figures such as Max Jacob, Georges Henri Rivière, Jean Dubuffet, Robert Despos, Georges Bataille and the artist André Masson, who soon became his mentor. Through Masson, Leiris became a member of the Surrealistmovement, contributed to La Révolution surréaliste, published Simulacre(1925), and Le Point Cardinal (1927), and wrote a surrealist novel Aurora(1927-28; first published in 1946). In 1926, he married Louise Godon, the step-daughter of Picasso's dealer Daniel-Henry Kahnweiler and traveled to Egypt and Greece.

Following a fall out with André Breton in 1929, he joined Bataille’s team as a sub-editor for Documents, to which he also regularly contributed articles such as “Notes on Two Microcosmic Figures of the 14th and 15th Centuries” (1929, issue 1), “In Connection with the ‘Musée des Sorciers" (1929, issue 2), "Civilisation" (1929, issue 4), “The ‘Caput Mortuum’ or the Alchemist’s Wife” (1930, issue 8), and on artists such as Giacometti,Miró, Picasso, and the 16th

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  • The exhibition «  Africa Remix » in the Centre Pompidou from 25th of May until the 15th of August 2005, raised a panorama of African contemporary art.

 A
Achi - Adangmé - Adio - Afar - Afo - Aka - Akan - Akyem - Akwaim - Alagya - Aman - Amhara - Amba - Ambo - Angoni - Anga - Ankwé - Ano - Anyi

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Mémoire d'étude (Vol I )
ÉCOLE DU LOUVRE

Antoine MARIE
Le marché de la statuaire Mumuye
Mémoire d'étude (Vol I : Texte)
(2ème année de 2ème cycle)
Présenté sous la direction de
Madame Sophie Mouquin
Septembre 2012

 


Préface

Mon attention s’est portée sur ce sujet car il porte sur un domaine assez méconnu du marché de l’art qui est celui des arts d’Afrique et en particulier ici, de la statuaire Mumuye du Nord Est du Nigeria et dont l’arrivée assez récente sur le marché européen à la fin des années soixante permet encore des découvertes quand aux formes et à la signification de ces statues mais aussi suffisamment de recul pour pouvoir retracer l’évolution de ce marché depuis la mise en vente des premiers objets. Les recherches menées m’ont permis de comparer et de rassembler les écrits et les documents photographiques des différents chercheurs ayant étudié le peuple Mumuye correspondant à ce sujet d’étude. Ces écrits m’ont aidé pour les deux premières parties de ce travail. L’une

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