GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

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l'union des commissionnaires de l'hôtel des ventes :
est une corporation née en 1832 qui abrite environ 110 membres, (manutentionnaires et déménageurs) tous savoyards depuis le milieu du XIX ème siècle. En 1852 l'inauguration de Drouot unique salle des ventes de la compagnie parisienne, renforça leur position. profitant du référendum organisé en 1860 par Napoléon III pour le rattachement de la Savoie à la France ; les commissionnaires ont alors réclamé le privilège exclusif de leur corporation. Ils possèdent des parts égales de l'union, et sont responsables sur leur biens propres;

L'Hôtel Drouot a annoncé aujourd'hui qu'il allait supprimer le monopole de fait détenu par l'UCHV (Union des commissionnaires de l'Hôtel des Ventes) après la mise en examen de plusieurs des membres de cette corporation dans une affaire de vols de tableaux et d'objets d'arts
L'UCHV, qui assure le transport et la manutention des objets vendus à Drouot, est une corporation, créée en 1832, qui comprend actuellement 110 commissionnaires, surnommés les "Savoyards" ou les "collets rouges".

Le conseil d'administration de Drouot a décidé que le transport des objets d'art, principalement assuré par l'UCHV, sera désormais également confié à plusieurs prestataires extérieurs ayant auparavant reçu l'agrément de Drouot, a indiqué l'hôtel des ventes dans un communiqué. Ces agréments seront délivrés à des prestataires "respectueux des règles de déontologie et d'éthique", précise Drouot qui est en train de rédiger un cahier des charges.

Le conseil d'administration de Drouot a

Ethnology

Ethnology (from the Greek ἔθνος, ethnos meaning "habit, custom, convention") is the branch of anthropology that compares and analyzes the origins, distribution, technology, religion, language, and social structure of the ethnic, racial, and/or national divisions of humanity.

Compared to ethnography, the study of single groups through direct contact with the culture, ethnology takes the research that ethnographers have compiled and then compares and contrasts different cultures. The term ethnology is credited to Adam Franz Kollár who used and defined it in his Historiae ivrisqve pvblici Regni Vngariae amoenitates published in Vienna in 1783. Kollár's interest in linguistic and cultural diversity was aroused by the situation in his native multi-lingual Kingdom of Hungary and his roots among its Slovaks, and by the shifts that began to emerge after the gradual retreat of the Ottoman Empire in the more distant Balkans.

Among the goals of ethnology have been the reconstruction of human history, and the formulation of cultural invariants, such as the incest taboo and culture change, and the formulation of generalizations about "human nature", a concept which has been criticized since the 19th century by various philosophers (Hegel, Marx, structuralism, etc.). In some parts of the world ethnology has developed along independent paths of investigation and pedagogical doctrine, with cultural anthropology becoming dominant especially in the United States, and social anthropology in Great Britain. The distinction between the three terms is increasingly blurry. Ethnology has been

African art

African art constitutes one of the most diverse legacies on earth. Though many casual observers tend to generalize "traditional" African art, the continent is full of peoples, societies, and civilizations, each with a unique visual special culture. The definition also includes the art of the African Diasporas, such as the art of African Americans. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.

    * Emphasis on the human figure: The human figure has always been a the primary subject matter for most African art, and this emphasis even influenced certain European traditions. For example in the fifteenth century Portugal traded with the Sapi culture near the Ivory Coast in West Africa, who created elaborate ivory saltcellars that were hybrids of African and European designs, most notably in the addition of the human figure (the human figure typically did not appear in Portuguese saltcellars). The human figure may symbolize the living or the dead, may reference chiefs, dancers, or various trades such as drummers or hunters, or even may be an anthropomorphic representation of a god or have other votive function. Another common theme is the inter-morphosis of human and animal.

Yoruba bronze head sculpture, Ife, Nigeria c. 12th century A.D.

    * Visual abstraction: African artworks tend to favor visual abstraction over naturalistic representation. This is because many African artworks generalize stylistic norms. Ancient Egyptian art, also usually thought of as naturalistically depictive, makes use of highly abstracted and regimented visual canons, especially in painting, as well as the use of different colors to represent the qualities and characteristics of an individual being depicted.

    * Emphasis on sculpture: African artists

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

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

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

• Musée d'Art africain  in Dakar (Senegal)
• Musée national des arts et traditions du Gabon in Libreville (Gabon)
  
• Museum of the Bafut chefferie (Cameroon)
• Musée de Bandjoun (Cameroon)
• Musée de Babungo (Cameroon)
  
• Museum of the Foumban sultanat, capital of the bamoun country (Cameroon) : more than 3 000 objects among which some old of more than six hundred years.

• Musée Dapper in Paris
• Musée du Quai Branly in Paris
• Musée Royal de l'Afrique centrale in Tervuren (Belgium)
• Museum of the african, oceanian and amerindian arts  (MAAOA) in Marseille (France)
  
• Musée africain de Lyon
  

• 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.
  

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