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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 : 'texte'

Dyonyeni (or Jonyeleni) statue, Bambara, Mali
Dyonyeni (or Jonyeleni) statue, Bambara, Mali
€ 35,000.00
Gelede mask, Yoruba, Nigeria
Gelede mask, Yoruba, Nigeria
€ 22,000.00
Poupée biga
Poupée biga
€ 2,600.00
Female Kifwebe mask, Songye, Democratic Republic of Congo
Female Kifwebe mask, Songye, Democratic Republic of Congo
€ 12,000.00

Image Paul Guillaume
From humble beginnings, Paul Guillaume (1891–1934) rose to become one of the leading cultural players and art dealer-collectors of Paris in the early twentieth century. Guillaume died at the age of forty-two, by which time he had amassed an outstanding private collection of works by leading modernists. Unlike many art collectors of the time, Guillaume did not come from a wealthy and cultivated background, nor was he only interested in simply supplying works of art for customer demand like other art dealers. He also actively promoted certain aspects of the artistic and cultural life of Paris, providing moral and material support to artists, and interpreting the art of his time for his contemporaries. This approach, while not uncommon today, was innovative at the time and had previously been attempted by only a few courageous dealer-collectors in Paris, such as Paul Durand-Ruel and Ambroise Vollard. Guillaume was celebrated by the artists whom he supported; for instance in Modigliani's portrait the words Novo Pilota, or ‘new helmsman’, identify the sitter as being at the forefront of modern art.

Guillaume's premature death prevented his dream – of transforming his private collection to a museum of modern art – from being realised. After his death Domenica, his widow and heir, remarried and modified the existing collection, selling some of the more extreme avant-garde works (and later his collection of African art and modern sculpture) and acquiring works of a more conservative character. Domenica's concern to promote harmony among the works in the Guillaume collection made her edited version of the collection all the more typically a capsule of Parisian taste in the 1920s. Before he died, Paul Guillaume had resolved to give his collection to the Louvre. Domenica, a lover of
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Germaine Dieterlen (1903-1999) was a French anthropologist. She was a student of Marcel Mauss and wrote on a large range of ethnographictopics and made pioneering contributions to the study of myths, initiations, techniques (particularly "descriptive ethnography"), graphic systems, objects, classifications, ritual and social structure.

She is most noted for her work among the Dogon and the Bambaraof Mali, having lived with them for over twenty years, often in collaboration with noted French anthropologist Marcel Griaule (1898-1956).

Themes

Some of the main themes in her work concentrate on the notions of sacred kingship, the position of the first born, relationships between maternal uncles and nephews, division of labor, marriage, and the status of the rainmaker in Dogon society. Because each episode of the rite is enacted only once every sixty years, Dieterlen's documentation of the sigui cycle allowed the Dogon themselves to see and interpret the entire sequence of rites which they had heretofore only observed in part.

Researches

 

Dieterlen began her ethnographic research in Bandiagara, Mali in 1941. Perhaps most controversially, Dieterlen was criticized by her peers for her publications with Griaule on Dogon astronomy, which professed an ancient knowledge of the existence of a dwarf white star,Sirius Balso called the Dog Star, invisible to the naked eye. This ancient

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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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Armand Auxiètre always bathed in the world of the collection.
His grandfather and his father before him constituted, according to time and discoveries, a collection of many and various objects, ancient books and objects coming from all parts of Africa.During his youth, Armand evolves in a particular world, where he educates his look naturally.Having crossed several certificates of cabinetmaking, he crosses successfully his certificate of the jobs of art to the Ecole Boulle, and develops at the same time his knowledge in african art.The attraction between the african sculpture and Armand Auxiètre is first plastic, immediate, obvious.A love was born, which will be developed in the course of meetings, discoveries and of readings.Soon the pleasure of being encircled with items becoming too big to resist the desire to share this passion, Armand takes back the ancient bookshop of his grandmother, and perpetuates the family presence initiated in the fifties in 41, street of Verneuil, by creating the gallery "L'Oeil et la
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In 1950s, it was possible to find many objects at the price of 10 francs on the flea markets of Europe. The first objects to take value were those of the Benin because they were bronze, then came the fashion of objects to black patina of Ivory Coast, and those of Bakota of the Gabon plated by copper and by brass. The big statues were worth more expensive than the babies, while most often in Africa, if they are small it is to be able to hide them more easily because they have a particular importance.

  

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.

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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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Image The gallery


The art gallery L'Oeil et la Main, located in Paris, is essentially devoted to the primitive arts. To come at the gallery, an access map is available. If you wish to receive informations about the coming exhibitions, please leave us your email adress in the category subscription to the newsletter.


Opening hours of the gallery:

From Wednesday to Saturday

2pm - 7pm

To visualize a panorama of the gallery, click here.

For any information about a work of art :
Tel. : +33 (0)1 42 61 54 10

african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / Afrique / Africa / l'oeil et la main / galerie d'art premier / achat / vente / expertise / expert / exposition / exhibition / collection / collectionneur / Paris / oeuvre / Verneuil / antiquités / antiquaire / musée / museum / masque / mask / statue / sculpture / Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com
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