GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

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

Jacques Chirac, né le 29 novembre 1932 dans le 5e arrondissement de Paris, est un homme d'État français qui a exercé les plus hautes responsabilités de la Ve République.

Il fut premier ministre de Valéry Giscard d'Estaing (1974-1976) puis, inaugurant la première cohabitation, celui du socialiste François Mitterrand (1986-1988). Il est le 5e président de la Ve République (22e président de la République) du 17 mai 1995 au 16 mai 2007, période incluant la troisième cohabitation (1997-2002). Il fut également le premier maire de Paris (1977-1995) après le rétablissement de cette fonction (supprimée entre 1871 et 1977, son prédécesseur était Jules Ferry). Il siège au Conseil constitutionnel dont il est membre de droit depuis la fin de son second mandat de chef de l'État.
 

Biographie personnelle et parcours politique

1932-1967 : jeunesse et apprentissage
Né le 29 novembre 1932 à la clinique Geoffroy Saint-Hilaire (Ve arrondissement de Paris), Jacques René Chirac est le fils d'Abel François Chirac (1893-1968), administrateur de la société aéronautique et de Marie-Louise Valette (1902-1973). Tous deux proviennent de familles corréziennes, ses deux grands-pères sont instituteurs — de Sainte-Féréole, en Corrèze. D'après Jacques Chirac, son nom « a pour origine la langue d'oc, celle des troubadours, donc celle de la poésie ».

Le jeune Jacques, élevé en enfant unique (sa sœur aînée, Jacqueline est décédée en bas-âge avant sa

Claude Lévi-Strauss, né le 28 novembre 1908 à Bruxelles, est un anthropologue, ethnologue et philosophe français. Professeur honoraire au Collège de France, dont il a occupé la chaire d'anthropologie sociale de 1959 à 1982, et membre de l'Académie française, dont il est devenu le premier centenaire, il compte parmi les premiers théoriciens de la pensée structuraliste.

Depuis ses premiers travaux sur les Indiens du Brésil, qu'il a étudiés sur le terrain entre 1935 et 1939, et la publication de sa thèse Les Structures élémentaires de la parenté en 1949, il a produit une œuvre scientifique dont les apports ont été reconnus au plan international. Il a ainsi consacré une tétralogie, les Mythologiques, à l'étude des mythes. Mais il a également publié des ouvrages qui sortent du strict cadre des études académiques, dont le plus célèbre, Tristes Tropiques, publié en 1955, l'a fait connaître et apprécier d'un vaste cercle de lecteurs.

 Biographie

 Enfance et formation
Claude Lévi-Strauss, issu d'une famille juive d'origine alsacienne, est né à Bruxelles de parents français. Son père était un peintre portraitiste, qui fut ruiné par l'arrivée de la photographie et son grand-père maternel était le rabbin de la synagogue de Versailles. Il fait ses études secondaires à Paris aux lycées Janson-de-Sailly et Condorcet ; puis des études supérieures à la faculté de droit de Paris (licence) et à la Sorbonne (troisième à l'agrégation de philosophie en

Paul Klee, (prononcer "Klé"), est né le 18 décembre 1879 à Münchenbuchsee, près de Berne en Suisse et mort le 29 juin 1940. C'est un peintre suisse.

 Biographie

 Années de formation
Il grandit dans une famille de musiciens : sa mère, Ida, est chanteuse professionnelle, et son père, citoyen allemand, est professeur de musique dans la capitale helvétique. C'est de lui que Klee hérite son amour pour la musique. Lui-même excelle très tôt dans l'apprentissage du violon. À l'automne 1898, ayant terminé ses "examens de maturité" (baccalauréat) pour devenir avocat, il commence ses études de peinture à Munich, d'abord dans l'atelier particulier de Knirr, puis à l'Académie, sous la direction de Franz von Stuck. En 1899, il rencontre sa future femme, Lily Stumpf (*1876-†1946), une pianiste. En 1900, il s'inscrit à l'académie des beaux-arts de Munich où il cotoie Vassily Kandinsky. Il passe l'hiver 1901-1902 en Italie et visite Rome, Naples, Florence. Il se laisse prendre par le charme de l'architecture de la Renaissance, de Michel-Ange et des premiers maîtres du Quattrocento. Quelques voyages occasionnels le conduisent à Munich, où il découvre en 1904, Aubrey Beardsley, William Blake, Francisco Goya, James Ensor, puis à Paris en 1905. Il retourne à Munich à la fin de 1906 pour y épouser Lily Stumpf avec qui il aura un seul fils, Félix, né en 1907 et mort en 1990.

 Premières œuvres
À l'exposition de Munich, il fait la connaissance des oeuvres de Vincent van Gogh et de Paul Cézanne. Il y expose ses

Georges Braque

Georges Braque, né à Argenteuil (Seine-et-Oise, actuellement Val-d'Oise) le 13 mai 1882 et mort à Paris le 31 août 1963, était un peintre et sculpteur français. Il fut, avec Pablo Picasso, l'un des initiateurs du cubisme.
 
 Biographie
Georges Braque : « Je fuis mon semblable, dans tout semblable il y a un sosie. »

Georges Braque grandit au sein d’une famille d’artisans. Il passe sa jeunesse au Havre et étudie à l'École des Beaux-Arts de 1897 à 1899 dirigé par Charles Lhuillier. Il y fait la connaissance d'Othon Friesz. Sa première formation comme peintre décorateur, il la doit à son père, Charles Braque, entrepreneur-peintre en bâtiment.

À Paris, il suit les cours d'un maître décorateur et obtient son certificat d'artisanat en 1901. L'année suivante, il entre à l'académie Humbert qu'il fréquente jusqu'en 1904. C'est là qu'il rencontre Marie Laurencin et Francis Picabia.

 Du fauvisme au cubisme
Il peint ses premières œuvres sous l'influence de l'impressionnisme jusqu'à ce qu'il découvre au Salon d’Automne de 1905 les toiles d'Henri Matisse et d'André Derain. Puis débute une collaboration artistique avec Othon Friesz avec qui il fait un séjour à Anvers, puis l'année suivante à L'Estaque (Bouches-du-Rhône) d'où il rapporte des tableaux fauves aux couleurs pures et aux compositions géométriques. ( « Souvenirs d'Anvers » ). Ses tableaux sont exposés en mars 1906 au Salon des indépendants.

[ See the continuation... ]

Statue dyonyeni
bambara - Mali

Bois très belle patine d'usage sombre résultant de nombreuses et multiples utilisations tribales. Traits géométriques, seins proéminents. Position du corps fléchie, les bras détachés du corps dans une distorsion peu anatomique, mais néanmoins très esthétique, enserrent une coupe. Les pieds sont noyés dans le socle. Les forgerons de de la société Dyo les ont utilisés durant les danses célébrant la fin de leur cérémonies d'initiation. Elles étaient manipulées, tenues par les danseurs et placées à l'intérieur d'un cercle cérémoniel.
statue de femme utilisée par les forgeron durant les dances d'initiation .

Even presented beyond their ethnographic context, the female representations produced by African artists remain strong, both aesthetic choices remain compelling. The Eye Gallery and the Main has a selection of works whose wife is the central subject: maternity, reliquaries, dolls, locks, seats, fetishes, puppets, masks ... all traditional works produced for different purposes, often very utilitarian and share the lack of realism. Yet, the authority that comes from a Dogon figure, is the opposite of the impression that emanates submission in general models of feminine beauty, like the masks of pwo Tchokwe, which are worn by men, but also for the elaborate hairstyles of Mende, who are nevertheless confined exclusively female company. It can be found most touching a small doll of a woman Mossi biga fertility has focused on her and treated as his own child. It is just a simple piece of wood without arms or legs whose femininity is limited to a few signs - hair, eyes, breasts, ports - but just how easy and how success in abstraction.

"FEMINAFRICA" of Wednesday, May 17 to Friday, June 30, 2006.

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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

es Statues Also Die is a French documentary short film directed by Chris Marker, Alain Resnais and Ghislain Cloquet released in 1953. Artistic Advisor: Charles Ratton.

It was sponsored by the Pan-African journal Presence Africaine. Starting from the question "Why art negro is there at the Museum of Man while Greek or Egyptian art is the Louvre? ', Both filmmakers denounced the lack of consideration for African art in a context of colonization. The film was censored in France for eight years because of his views anti-colonialist.

"When men are dead, they make history. When the statues are dead, they enter into art. This Botanical death is what we call culture.

Because the people of the statues is mortal. One day, our stony faces break down in turn. A civilization is leaving behind traces such as mutilated stones of Tom Thumb, but history has eaten everything. An object is dead when the living gaze which rested on him has disappeared, and when we lost our items will go where we send those negroes in the museum.

Art negro. We look as if it was his purpose in the pleasure it gives us. The intentions of the negro who created the emotions of the negro who looks at it, it eludes us. Because they are written into the woods, we take their ideas for statues, and we find the picturesque where a member of the black community sees the face of a culture.

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

Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was an Italian artist of Jewish heritage, practicing both painting and sculpture, who pursued his career for the most part in France. Modigliani was born in Livorno (historically referred to in English as Leghorn), in northwestern Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and art movements, and by primitive art, Modigliani's œuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis, exacerbated by poverty, overworking, and an excessive use of alcohol and narcotics, at the age of 35.

Early life

Amedeo Modigliani was born into a Jewish family at Livorno, in Tuscany. Livorno was still a relatively new city, by Italian standards, in the late 19th century. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.

Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother

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

Henri Matisse (31 December 1869 – 3 November 1954) was a French artist, known for his use of colour and his fluid, brilliant and original draughtsmanship. As a draughtsman, printmaker, and sculptor, but principally as a painter, Matisse is one of the best-known artists of the 20th century. Although he was initially labeled as a Fauve (wild beast), by the 1920s, he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.

Early life and education
 
Born Henri-Émile-Benoît Matisse in Le Cateau-Cambrésis, Nord-Pas-de-Calais, France, he grew up in Bohain-en-Vermandois in Northeastern France, where his parents owned a seed business. He was their first son. In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, when his mother had brought him art supplies during a period of convalescence following an attack of appendicitis. He discovered "a kind of paradise" as he later described it, and decided to become an artist, deeply disappointing his father. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau and Gustave Moreau. Initially he painted still-lifes and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Chardin was one of Matisse's most admired painters;as an art student he made copies of four Chardin paintings in the Louvre.In 1896 he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle