GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

The Nok civilization

The Nok civilization was discovered recently, in 1943 a fragment of a terracotta statue was unearthed in a tin mine near Nok on the Jos Plateau in central Nigeria. Following the discovery of other pieces of statues of high artistic quality were found near the city of Sokoto and creates lots of reactions when they appeared on the market of Western art. Since that date the statues from the city of Katsina still in northern Nigeria have been discovered, but like most of these magnificent statues excavated from unregulated very little information has reached us about their functions.

Several styles of terracotta statues were identified all dated between 400 BC and 200 AD there is currently very difficult to know if these styles correspond to different traditions or they are just regional variations.
More statues of styles, differences were found in the same regions, such as a number of terracotta-called classical style have been discovered in the region of Katsina to three hundred kilometers from their cultural center: the town of Nok.
It is likely that future research will give us more information on what is currently one of the great mysteries of African art.

The classical style known as Nok terracotta, includes statues of real size, with large elongated heads , hair forms developed and we identified them especially thanks to the eyes of an eyebrow and upper linear lower curve of an eyebrow, Their body is usually decorated with many jewels in terracotta, reminiscent of beads stones otherwise similar to those that were found during excavations.

The Yoruba


The term Yoruba describes both a language and a tribe living between Nigeria and the Republic of Benin, in an area covered by forests and savannah. Their history can be traced from the beginning of our millennium, with the civilization of Ife. Following the collapse of the kingdom of Ife kingdom of a number such as Oyo and Ijebu emerged, they in turn disintegrated during the 18th and 19th, but were revived by the colonial powers, to the end of the 19th. Today they are still the basis of the Yoruba political structure. The slave trade touched heavily Yoruba people of Nigeria and he contributed to their diaspora and the release of their rites and beliefs.


The Yoruba are prolific craftsmen, most Yoruba art objects dating from between the late 19 th and the middle of this century, and can sometimes be attributed to known artists by their names, which is an exception in African art.


During the XVI, the Ijebu kingdom, ruled areas near the coast of the Atlantic Ocean. copper imported by sailors, was traded by the Portuguese Ijebu and many bronze objects were created by their artists. These objects reflect the influence of their neighbors, the Kingdom of Benin. Nevertheless, their bells and bracelets scepters are usually decorated with figures, half human, half animal with eyes bulging and curved scars on his forehead.

The empire of Oyo between the XVII and XIX was located in the northern territories or peoples

JACQUES KERCHACHE

Biographie

Jacques Kerchache est né le 6 août 1942 à Rouen.

Marié à Anne Diagne, il était père de deux filles, Maya et Deborah.

Il a effectué de nombreux voyages d’études entre 1959 et 1980 en Afrique, en Asie, en Amérique et en Océanie à

l’occasion desquels il a dressé un inventaire critique des grandes collections de sculptures.

En 1960, il ouvre une galerie rue des Beaux-Arts à Paris puis une autre rue de Seine qui fermera en 1981. Il y expose

aussi bien des artistes contemporains (Malaval, Pol Bury, Sam Szafran…) que de “ l’art primitif ” :

Art primitif-Amérique du Nord (1965),

Fleuve Sépik - Nouvelle-Guinée (1967), Les Lobi See the continuation... ]

L’essentiel

Le pavillon ressemble à la foi au Palais royal d’Abomey et au château tradtionnel TATA. Il introduit le bateau de pêche comme élément de conception et adopte des objets d’artisanat locaux et des oeuvres d’art pour expliquer l’urbanisation des campagnes du Bénin de notre époque. L’intérieur du pavillon est divisé en espace central d’exposition et espace complémentaire.
A ne pas manquer 1

L’espace central fait voir les paysages culturels, les maisons traditionnelles, les oeuvres d’art et les objets d’artisanat du Bénin y compris des reliefs en bronze, des sculptures sur bois et sur ivoire.
A ne pas manquer 2

L’espace complémentaire dévoile la situation actuelle des campagnes et des villes du Bénin et fait savoir les réflexions sur «Interaction entre villes et campagnes».
Pavillon de Bénin

Située au sud de l’Afrique centrale, la République du Bénin dispose d’une pêche particulièrement développée. De forme étirée, le relief de l'ensemble du pays est peu accidenté.

Depuis 1967, le Bénin a participé à Universal Exhibition Hannover 2000 et Exposition Internationale de 2005, Aichi, Japon.

Numéro de section : L-14

Thème : Insertion des Terroirs Villageois en Ville comme

Moteur de Développement Durable

Des réflexions menées autour du sous thème de l’Expo 2010 «Interaction entre la Ville et la Campagne » président le pavillon, qui incarne la voie et la notion du développement intégral de la ville en concertation avec l’insertion des terroirs villageois.

Points

This is a copy of the catalogue of the exhibition of 1923 in Brooklyn Museum, In 1903 Stewart Culin became the founding curator of the department of ethnology at the museum of the Brooklyn institute of arts and sciences, now the Brooklyn museum Culin a self taught ethnologist built the foundation of four curatorial collections for the museum, acquiring objects representing African Asian native American and estaern European culture

 

 

 

Culin was among the first curator to recognize museum installation as an art form, he was also among the first to display ethnological as art objects, not as ethnographic specimens. This approach is evidenced in his exhibition “primitive negro art”

 

 

 

The exhibition opened in april 1923 and displayed African objects he had acquired in Europe from dealers. Along with his colleagues Culin set the parameters for cultural representation in museum through his collection decisions and innovative installations.

 

 

[ See the continuation... ]

This is a copy of the catalogue of the exhibition of 1923 in Brooklyn Museum, In 1903 Stewart Culin became the founding curator of the department of ethnology at the museum of the Brooklyn institute of arts and sciences, now the Brooklyn museum Culin a self taught ethnologist built the foundation of four curatorial collections for the museum, acquiring objects representing African Asian native American and estaern European culture

 

Culin was among the first curator to recognize museum installation as an art form, he was also among the first to display ethnological as art objects, not as ethnographic specimens. This approach is evidenced in his exhibition “primitive negro art”

 

The exhibition opened in april 1923 and displayed African objects he had acquired in Europe from dealers. Along with his colleagues Culin set the parameters for cultural representation in museum through his collection decisions and innovative installations.

 

See the continuation... ]