GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

Whoever works on the timber can not remove and it should not be mistaken because the return is prohibited. We must therefore bear in mind exactly what you want to achieve and work on a large piece is even more risky that the goal is complex and difficult to reach final equilibrium. Bring forth a form of matter that is not an accurate representation but still recognizable to blow is a recognized quality artists. Zoomorphic masks African accentuate the characters without falling into caricature. The great elephant mask from Cameroon have much larger ears, their trunks very long but they are realistic. The open mouth on the teeth, we imagine a loud cry. And the general attitude expresses the power and might. Considered a royal animal, a privilege of a few lineages, the elephant masks, carried horizontally, appear only rarely in the masquerades and they go last on the dance venues.

Bamileke elephant masks and hoods are beaded to the more abstract. They are recognizable by their large ears flat and we must consider that the long anterior descending to the feet is a mistake but there is no representation of defense and the face is very human characters. They are cons beautifully decorated with beads arranged in geometric patterns. These are worn by members of the society of the elephant under the command of the king, the fon.

In contrast to the achievements of Cameroon zoomorphic masks Izzi elephants are complex compositions and particularly fantastic or only careful study can discern the features of the animal. Trompe shortened

Paul Jackson Pollock (January 28, 1912 – August 11, 1956) was an influential American painter and a major force in the abstract expressionist movement. He was married to noted abstract painter Lee Krasner.

Early life

Pollock was born in Cody, Wyoming in 1912, the youngest of five sons. His father was a farmer and later a land surveyor for the government.He grew up in Arizona and Chico, California, studying at Los Angeles' Manual Arts High School. During his early life, he experienced Native American culture while on surveying trips with his father.In 1930, following his brother Charles, he moved to New York City, where they both studied under Thomas Hart Benton at the Art Students League of New York. Benton's rural American subject matter shaped Pollock's work only fleetingly, but his rhythmic use of paint and his fierce independence were more lasting influences. From 1935 to 1943, Pollock worked for the WPA Federal Art Project.

The Springs period and the unique technique

In October 1945, Pollock married another important American painter, Lee Krasner, and in November they moved to what is now known as the Pollock-Krasner House and Studioin Springs on Long Island, New York. Peggy Guggenheim loaned them the down payment for the wood-frame house with a nearby barn

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

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.

 
Life

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 painted during the day and earned his livelihood by giving violin lessons and performing with musical bands at night.

In 1911, Vlaminck traveled to London and painted by the Thames. In 1913, he painted again with Derain in Marseille and Martigues. In World War I he was stationed in Paris, and began writing poetry. Eventually he settled in the northwestern suburbs of Paris. He married his second wife, Berthe Combes, with whom he had two daughters. From 1925 he traveled throughout France, but continued to paint primarily along the Seine, near Paris.

Vlaminck died in Rueil-la-Gadelière on 11 October 1958.

Artistic career
 
Two of Vlaminck's groundbreaking paintings, Sur le zinc (At the Bar) and L'homme a la pipe (Man

Anne-Louise Amanieu
Ecole du Louvre
Specialty Arts of Africa
December 2007

Fang mask society Ngil, Gabon, Pavilion des Sessions at the Louvre

IDENTIFICATION

Fang mask the Pavillon des Sessions consists partly of wood covered with kaolin and measure about 70 cm high. It dates from the late nineteenth century or early twentieth. Listed under the inventory number 65-104-1, it comes from the former collection of André Lefèvre and was acquired in 1965 by the Museum of Man.

DESCRIPTION

This great helmet mask represents a stylized human face, whose face and elongated heart-shaped and slightly concave is shared by a long thin nose. On the top of the forehead develops a studded headband for attaching ornaments and who bears a ridge with extension to the front leads by three strokes for joining the nasal bridge and deployed above the eyebrows. The C-shaped ears stand out in high relief on both sides of the face, as the eyes and mouth, they are barely mentioned by simple incisions highlighted by thin slits etched tattoos that recall that arborist and the Fang Ntoumou Mvai by Günter Tessmann.

ANALYSIS

The mask of Ngil (NGI) exists only among the Fang, the people established the Sanaga River (southern Cameroon) Ogooué River (northern Gabon) and in Equatorial Guinea after a period of migration to the eighteenth and

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

André Breton (February 19, 1896 – September 28, 1966) was a French writer, poet, and surrealisttheorist, and is best known as the main 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 medicineand 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 DadaistTristan 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

Pietro Paolo Savorgnan di Brazzà, best known as Pierre Paul François Camille Savorgnan de Brazza (January 26,1852 - September 14, 1905), was a Franco-Italian explorer, born in Italy and later naturalizedFrenchman. With the backing of the Société de Géographique de Paris, he opened up for France entry along the right bank of the Congo that eventually led to French colonies in Central Africa. His easy manner and great physical charm, as well as his pacific approach among Africans, were his trademarks. Under French colonial rule, Brazzaville, the capital of the Republic of the Congo was named in his honor.

Early  years

Born in Rome on January 26,1852, Pietro Savorgnan di Brazzà was the seventh son of Count Ascanio Savorgnan di Brazzà, a nobleman of Udine with many French connections and Giacinta Simonetti. Pietro was interested in exploration from an early age and won entry to the French naval school at Brest, graduated as an ensign, and went on the French ship Jeanne d'Arc to Algeria.

Exploration to Africa

His next ship was the Venus, which stopped at Gabonregularly, and in 1874, de Brazza made two trips, up the Gabon Riverand Ogoue River. He then proposed to the government that he explore the Ogoueto its source, and with the help of friends in high places, including Jules Ferryand Leon Gambetta, he secured partial funding, the rest

Jean Rouch (31 May1917 - 18 February2004) was a French filmmaker and anthropologist.

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 filmmaker.

He is considered as one the pioneers of Nouvelle Vague, of visual anthropology and the father of ethnofiction. Rouch's films mostly belonged to the cinéma vérité school – a term that Edgar Morinused in a 1960 France-Observateur article referring to Dziga Vertov's Kinopravda. His best known film, one of the central works of the Nouvelle Vague, is Chronique d'un été (1961) which he filmed with sociologist Edgar Morin and in which he portrays the social life of contemporary France. Throughout his career, he used his camera to report on life in Africa. Over the course of five decades, he made almost 120 films.

He died in an automobile accident in February 2004, some 16 kilometres from the town of Birnin N'Konni in central Niger.

Main films

• 1954: Les Maîtres Fous (The Mad

In 1983, a Parisian trader, Jean-Michel Huguenin, makes discover seats Sénoufo. In 1985, another Parisian trader, Réginald Groux, discovers the ladders of lofts Dogon — coming from the cliff of Bandiagara — and Lobi in the region of Mopti (Mali).He acquires a first lot of fifty, makes them socler and sells them in his gallery by making a pretty benefit.

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