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GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

Art Gallery the Eye and the Hand
Result of the research Result of the research : 'sources'

Kifwebe mask, Songe people, Democratic Republic of Congo
Kifwebe mask, Songe people, Democratic Republic of Congo
€ 32,000.00
Kifwebe mask, Songye people, Democratic Republic of Congo
Kifwebe mask, Songye people, Democratic Republic of Congo
€ 8,500.00
Female Kifwebe mask, Songye, Democratic Republic of Congo
Female Kifwebe mask, Songye, Democratic Republic of Congo
€ 12,000.00
Henri Matisse

Photo of Henri Matisse by Carl Van Vechten, 1933.
Birth name     Henri-Émile-Benoît Matisse
Born     31 December 1869 (1869-12-31)
Le Cateau-Cambrésis, Nord-Pas-de-Calais
Died     3 November 1954 (1954-11-04) (aged 84)
Nice, France
Nationality     French
Field     painting, printmaking, sculpture, drawing, collage
Training     Académie Julian, William-Adolphe Bouguereau, Gustave Moreau
Movement     Fauvism, Modernism
Works     Woman with a Hat (Madame Matisse), 1905

in museums:

    * Museum of Modern Art

Patrons     Gertrude Stein, Etta Cone, Claribel Cone, Michael and Sarah Stein, Albert C.
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Image Tristan Tzara
Tristan Tzara

Born     April 4 or April 16, 1896
Moineşti, Kingdom of Romania
Died     December 25, 1963 (aged 67)
Paris, France
Pen name     S. Samyro, Tristan, Tristan Ruia, Tristan Ţara, Tr. Tzara
Occupation     poet, essayist, journalist, playwright, performance artist, composer, film director, politician, diplomat
Nationality     Romanian, French
Writing period     1912–1963

            Guillaume Apollinaire, Henri Barzun, Fernand Divoire, Alfred Jarry, Jules Laforgue, Comte de Lautréamont, Maurice Maeterlinck, Adrian Maniu, Filippo Tommaso Marinetti, Ion Minulescu, Christian Morgenstern, Francis Picabia, Arthur Rimbaud, Urmuz, François Villon, Walt Whitman

Influenced

            Louis Aragon, Marcel Avramescu, Samuel Beckett, André Breton, William S. Burroughs, Andrei Codrescu, Jacques G.
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Image André Derain and the fauvisme movement
André Derain

Born     10 June 1880(1880-06-10)
Chatou, Yvelines,
Île-de-France
Died     8 September 1954 (aged 74)
Garches, Hauts-de-Seine, Île-de-France

André Derain (10 June 1880 – 8 September 1954) was a French painter and co-founder of Fauvism with Henri Matisse.

Biography

Derain was born in 1880 in Chatou, Yvelines, Île-de-France, just outside Paris. In 1898, while studying to be an engineer at the Académie Camillo, he attended painting classes under Eugène Carrière, and there met Matisse. In 1900, he met and shared a studio with Maurice de Vlaminck and began to paint his first landscapes. His studies were interrupted from 1901 to 1904 when he was conscripted into the French army. Following his release from service, Matisse persuaded Derain's parents to allow him to abandon his engineering career and devote himself solely to painting; subsequently Derain attended the Académie Julian.

Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure and later that year displayed their highly
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Museo Etnografico Africa-Mozambico
Bari

The artifacts come from the African Mission of Capuchin firars in Mozambique: they include masks, musical instruments, objetcs made of ivory as well as a lot of documents.

Museo Villaggio Africano
Basella di Urgnano

The works exhibited in this museum-village since 1984 come from the collection of a Passionist Missionaries, a religious congregation founded in 1743. Tribal handcraft works are on display in the museum-village but some are also for sale. The profits go to the congregation whicj helps people in Africa. The objects come mainly from Sub-Saharan Africa (Dogon, Baule, Mahongwe).

Museo Civico di Scienze Naturali "Enrico Caffi"
Bergamo

The museum was born in 1917 when the cabinet of curiosities of the Royal Technical Institute was merged with several private collections of the area. After several places, it was finally established in the sumptuous Piazza Cittadella palace in 1960. The ethnographical section just opened: the largest part of the collection was brought back by Costantino Beltrami, who "discovered" the source of the Mississipi River; it includes
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DE L'ART ANCIEN AFRICAIN, DE L'ETHNOLOGIE ET DU MUSEE: POUR UN RECENTREMENT DE L'ESTHETIQUE...


Au commencement était la nuit. Une longue nuit pour l'esthétique africaine. Ce fut le règne sans partage du musée dit «de séries», véritable vitrine du colonialisme, de confession évolutionniste et dont l'approche contextualiste célébrait l'Etrange, chantait l'Aventure et la Science. A cette époque point d'« objets », que des curiosités, trésors de guerre et pièces de laboratoires de chevronnés « Civilisateurs ». Il n'était pas rare alors, de voir des sculptures côtoyer dans les vitrines : cornes, peaux de bêtes et autres feuilles de palmier. Puis, il y eut le regard affûté d'une jeune génération d'artistes particulièrement douée et par ailleurs cruellement blasée, en quête de médecine pour un art européen las de son académisme figé. Cette génération vit dans ce fouillis les moyens d'une rédemption...

Une certaine révolution est venue corriger l'évidente injustice, consacrant depuis le siècle dernier des expositions à caractère esthétique pour la production africaine. Désormais, les objets, dans une dramaturgie suggérée par les seules qualités plastiques, invitent à un rapport nouveau. Exit la surabondance, la cacophonie et le "meurtre du vrai" que génère la tentative bancale de reconstitution de l'ailleurs fantasmé. Ici on ne rejoue pas le film de l'heureuse rencontre avortée entre "civilisés" et "primitifs". Nous avons les vrais Stars que sont les objets, mais d'une

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Tribe

A tribe, is a social group of humans connected by a shared system of values and organized for mutual care, defense, and survival beyond that which could be attained by a lone individual or family. A 'tribe' is defined in anthropology. When viewed historically or developmentally, a tribe is a mutual care system which, unlike a kingdom or state or other schema, is oriented around kinship and shared beliefs. Tribes can well exist simultaneously with other schema (see Schema (psychology)) such as states or other systems. They might consist of a social group existing before the development of, or outside of, states. Tribes are the most enduring and successful social survival system that has ever existed on earth. Tribes can exist within or without a state or kingdom and may or may not depend on the state or kingdom to endure.

Many anthropologists use the term to refer to societies organized largely on the basis of kinship, especially corporate descent groups.

Some theorists hold that tribes represent a stage in social evolution intermediate between bands and states. Other theorists argue that tribes developed after, and must be understood in terms of their relationship to states.

Etymology

The English word tribe occurs in 13th century Middle English literature as referring to one of the Twelve Tribes of Israel. The word is from Old French tribu, in turn from Latin tribus, referring to the original tripartite ethnic
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Tribe

A tribe, is a social group of humans connected by a shared system of values and organized for mutual care, defense, and survival beyond that which could be attained by a lone individual or family. A 'tribe' is defined in anthropology. When viewed historically or developmentally, a tribe is a mutual care system which, unlike a kingdom or state or other schema, is oriented around kinship and shared beliefs. Tribes can well exist simultaneously with other schema (see Schema (psychology)) such as states or other systems. They might consist of a social group existing before the development of, or outside of, states. Tribes are the most enduring and successful social survival system that has ever existed on earth. Tribes can exist within or without a state or kingdom and may or may not depend on the state or kingdom to endure.

Many anthropologists use the term to refer to societies organized largely on the basis of kinship, especially corporate descent groups.

Some theorists hold that tribes represent a stage in social evolution intermediate between bands and states. Other theorists argue that tribes developed after, and must be understood in terms of their relationship to states.

Etymology

The English word tribe occurs in 13th century Middle English literature as referring to one of the Twelve Tribes of Israel. The word is from Old French tribu, in turn from Latin tribus, referring to the original tripartite ethnic
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Ethnic group

An ethnic group is a group of human beings whose members identify with each other, through a common heritage that is real or presumed.

Ethnic identity is further marked by the recognition from others of a group's distinctiveness and the recognition of common cultural, linguistic, religious, behavioural ,, as indicators of contrast to other groups.

Ethnicity is an important means through which people can identify themselves. According to "Challenges of Measuring an Ethnic World: Science, politics, and reality", a conference organised by Statistics Canada and the United States Census Bureau (April 1–3, 1992), "Ethnicity is a fundamental factor in human life: it is a phenomenon inherent in human experience." However, many social scientists, like anthropologists Fredrik Barth and Eric Wolf, do not consider ethnic identity to be universal. They regard ethnicity as a product of specific kinds of inter-group interactions, rather than an essential quality inherent to human groups.Processes that result in the emergence of such identification are called ethnogenesis. Members of an ethnic group, on the whole, claim cultural continuities over time. Historians and cultural anthropologists have documented, however, that often many of the values, practices, and norms that imply continuity with the past are of relatively recent invention.

According to Thomas Hylland Eriksen, until recently the study of ethnicity was dominated by two distinct debates. One is between "primordialism" and
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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 mapis 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

Métro: line 12 (Rue du Bac ou Solférino station), line 1 (Palais Royal musée du Louvre station)

Public parking:

Orsay museum, 8 quai Anatole France 75007

Bac-Montalembert, 9 rue de Montalembert 75007




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 /
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Martine Pinard
Ecole du Louvre
Spécialité Arts de l'Afrique
Janvier 2008

" L'Art nègre ? Connais pas  " ! Picasso, 1920

I. Préambule

Au début du XXème siècle et plus précisément vers les années 1905-1907, des peintres commencèrent à collectionner des sculptures d'Afrique et d'Océanie. Qui sont ces collectionneurs de ce qu'on a appelé l' " art nègre " (terme qu'il faudra définir) ; comment, dans quel contexte, ont eu lieu les premières acquisitions ?
Cette première question en induit naturellement une autre : s'il y eut un engouement de prime abord (semble-t-il) " artistique ", qui étaient les premiers collectionneurs-marchands, nécessairement devaient être présents dans le circuit de ces acquisitions ?
Enfin, de manière plus générale, le dossier soulève en toile de fond, la question du changement de regard pour l'art africain et plus généralement l'art des " Autres " sous l'angle de l'impact de cet engouement du début du XX ème siècle. Peut-on esquisser une " trajectoire "
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Sarah Lagrevol
Ecole du Louvre
Spécialité Arts de l'Afrique

INTRODUCTION
    
    L'Ethiopie, vaste pays mentionné dès le Ier siècle dans le récit grec Le périple de la Mer Erythrée, suscite un engouement particulier de la part des Européens.  Cette Ethiopie rêvée continue au Moyen Age avec le mythe du royaume du Prêtre jean.  
Depuis la conversion du pays au IVe siècle de notre ère, le monde chrétien est omniprésent et accompagne les fidèles dans leur vie quotidienne. Le symbole de la croix, marque distinctive des dévots et image de rédemption, est présent sur tous types de supports (peinture, sculpture, décor architectural, objet façonné…) et de nombreuses interprétations lui sont attachées. Ces croix participent aussi par la bénédiction et les pratiques d'exorcisme à protéger les fidèles et à les soigner spirituellement. Les différents types de médecines pratiquées donnent également lieu à la production de rouleaux aux vertus " magiques " qui chassent ou apaisent les esprits habitant le patient.

    De par l'étude de la
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Image Boîte à divination par les souris, Baoulé, Côte d'Ivoire
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African traditional masks

There are an enormous variety of masks used in Africa. In West Africa, masks are used in masquerades that form part of religious ceremonies enacted to contact with spirits and ancestors.

The Yoruba, Igbo and Edo cultures, including Egungun Masquerades and Northern Edo Masquerades. The masks are usually carved with an extraordinary skill and variety by artists who will usually have received their training as an apprentice to a master carver - frequently it is a tradition that has been passed down within a family through many generations. Such an artist holds a respected position in tribal society because of the work that he/she creates, embodying not only complex craft techniques but also spiritual/social and symbolic knowledge. African masks are also used in the Mas or Masquerade of the Caribbean Carnival.

African masks are made from different materials: wood, bronze, brass, copper, ivory, terra cotta and glazed pottery, raffia and textiles. Some African masks are colourful. Many African masks represent animals. Some African tribes believe that the animal masks can help them communicate with the spirits who live in forests or open savannas. People of Burkina Faso known as the Bwa and Nuna call to the spirit to stop destruction. The Dogon of Mali have complex religions that also have animal masks. Their beliefs are in three main cults - the Awa, cult of the dead, Bini, cult of communication with spirits and Lebe, cult of earth and nature. These three main cults nevertheless use seventy-eight different types of masks. Most of the ceremonies of the Dogon culture are secret, although the antelope dance is shown to non-Dogons. The antelope masks are rough rectangular boxes with several horns coming out of the top. The Dogons are expert agriculturists and the antelope symbolizes a hard working farmer.

Another culture that has a very rich agricultural tradition is the
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Black African Literature
Modern literature of Black Africa lies at the confluence of various trends: its
own traditions and diverse, the impact of Islamic and Arab worlds;
the pervasive influence of European colonialism and Christianity. Africans
have been particularly prolific since the Second World War;
using French, English, Portuguese and more than forty African languages, they
made up of poetry, fiction, drama, and invented forms of writing
for which there is no description in the European literary world. Their
works portray the modern political and social reality, and focus on
value systems, whether or not African. At the same time, their writings
are based on indigenous traditions and world views typically
Africa.
Long before Europeans arrived, even before the development of writing,
peoples of sub-Saharan Africa have expressed their thoughts in an artistic manner,
their feelings and concerns the deepest in the form of myths,
legends, allegories, parables and stories, songs and chants from
poems, proverbs, riddles and theater. Some traditional forms of
oral literature have survived until today, while new forms do
cease to

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Africa since 1935

Research Director
Professor A. A. Mazrui (Kenya)

Co-Director
C. Wondji (Ivory Coast)

Arts and society since 1935
J. VANSINA

Across Africa today the arts give the show an amazing cauldron of creativity emerged with a dizzying diversity of all layers of society. Many new artistic trends date from the second half of the colonial period. Besides, some pioneers are still working today. After all, it is past two generations since 1935. But in that short time, the artistic activity was a richness and diversity as this chapter may at most trace the main lines of its evolution (1).

Initially, we must enumerate a few general features of social and cultural matrix that is all. These are: the growing impact but unevenly distributed in Europe, the growth of cities, social stratification more trenches that lead to the formation of new classes, the industrial division of time has reached the beaches of leisure may be devoted to the practice and enjoyment of the arts, the prestige associated with the technical and technical training, changing the place and role of the artist in society, past status of artisan to that of cultural soothsayer The change in attitude toward art and their use, alteration of values in general and more specifically the changing religious values. The multiplication of objects of artistic production offers new opportunities, these are just

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Africa under colonial rule, 1880-1935

Research Director
Professor A. A. Boahen (Ghana)

In February 1976, in Nigeria, a man was arrested at a police checkpoint between Ibadan and Lagos. He was carrying two bags full of bronze sculptures and wood on suspicion of having stolen it affirmât well as the owner. Upon inquiry, the man telling the truth. Recently converted to Islam, he lived and worked in Ibadan at a community center. The effigies of deities carved Yoruba he was carrying had been brought in Ibadan, like many others, by migrant workers to satisfy the spiritual aspirations of these artisans, shopkeepers, civil servants and other migrant workers in their temporary residence. But the leader of the community, having converted to Islam, began in turn to convert their neighbors. Converted in his turn, the suspect heard himself served as symbols of their ancient faith were to disappear to allow the community center to become a dwelling worthy of the spiritual presence of Allah. Unable to consider destroying these objects, he resolved to return to his village, place of origin, where they have since been resettled.

This incident is a perfect example of the evolution of cultural forms and their concrete manifestation and at the same time, the survival or the renewal of cultural values from specific forms of domination, whether of a religious or more clearly social. What remained true in 1976 was even more common during this period particularly dramatic external domination of Africa, which saw the submission of an entire people, its social

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The Yoruba

The Yoruba people live on the west coast of Africa in Nigeria and can also be found in the eastern Republic of Benin and Togo. Because the majority of the slaves brought to the Americas were from West Africa Yoruban descendants can also be found in Brazil, Cuba, the Caribbean, and the United States. There are also many Yoruba currently living in Europe, particularly Britain, since Nigeria was once a British colony. The Yoruba are one of the largest cultural groups in Africa. Currently, there are about 40 million Yoruba world-wide. The Yoruba have been living in advanced urban kingdoms for more than 1,500 years. They created a strong economy through farming, trading, and art production. Their outstanding and unique artistic traditions include woodcarving, sculpture, metal work, textiles, and beadwork.

West Africans, such as the Yoruba, have lived in urban societies and have produced extraordinary art work since the 5th century BC. During this time, the Yoruba began to use iron to create metal tools and weapons such as machetes, axes, and hoes. These tools made it easier for the Yoruba to farm the land. They planted crops including yams, their staple food. They also harvested the seeds from the palm oil tree. The seeds from this tree produce a vegetable oil that is used for cooking. Kola nuts were also grown and harvested. Soon the Yoruba began trading with neighboring areas for rice and sorghum. Due to increased agriculture, the Yoruba community began to grow in size and large towns were created. They arranged their communities by clan lines, or extended families. Families who had the same ancestors lived next door to each other in large compounds. An elder was put in charge as the
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Visual, performing, and literary arts of sub-Saharan Africa. What gives art in Africa its special character is the generally small scale of most of its traditional societies, in which one finds a bewildering variety of styles. The earliest evidence of visual art is provided by figures scratched and painted on rocks c. 3000 BC. Pastoral cultures in the east emphasize personal adornment; sculpture predominates in the agricultural societies in the west and south. Clay figurines found in Nigeria date to 500 BC. Metalworking was practiced from the 9th century AD. Sculptures in stone, ivory, and wood date from the 16th – 17th centuries; some of the finest wood sculptures date from the 20th century. Architecture dominates the arts of the north and of the eastern coast, where Islam and Christianity exerted their influence; important work includes magnificent mosques built of mud and rock-hewn churches. Perhaps the most distinctive features of African music are the complexity of rhythmic patterning achieved by a great variety of drums and the relationship between melodic form and language tone structure. Without this the text of a song is rendered meaningless; but, even in purely instrumental music, melodic pattern is likely to follow speech tone. Dances are realized in radically different styles throughout Africa. Movement patterns often depend upon the way in which environmental, historical, and social circumstances have been articulated in working, social, and recreational movements. Often there is no distinction between ritual celebration and social recreation. The masquerade is a complex art form employing many media; masquerades may entertain, be used to fight disease, be consulted as oracles, initiate boys to manhood, impersonate ancestors, judge disputes, or execute criminals. The mask is essentially a dramatic device enabling performers to stand apart from their everyday role in the community.
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The Metropolitan Museum of Art is an art museum located on the eastern edge of Central Park, along what is known as Museum Mile in New York City, USA. It has a permanent collection containing more than two million works of art, divided into nineteen curatorial departments. The main building, often referred to simply as "the Met," is one of the world's largest art galleries, and has a much smaller second location in Upper Manhattan, at "The Cloisters," which features medieval art.

Represented in the permanent collection are works of art from classical antiquity and Ancient Egypt, paintings and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met also maintains extensive holdings of African, Asian, Oceanic, Byzantine and Islamic art. The museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of notable interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Met's galleries.

The Metropolitan Museum of Art was founded in 1870 by a group of American citizens. The founders included businessmen and financiers, as well as leading artists and thinkers of the day, who wanted to open a museum to bring art and art education to the American people. It opened on February 20, 1872, and was originally located at 681 Fifth Avenue.

As of 2007, the Met measures almost a quarter mile long and occupies more than two million square feet.
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The Museum Dapper is a private Parisian museum created in 1986 which defines itself as a «space of arts and of cultures for Africa, the Caribbean and their diasporas».

His name pays tribute to a Dutch humanist of the XVIIth century, Olfert Dapper.
 
History

Olfert Dapper foundation is born in Amsterdam in 1983, in initiative of polytechnicien Michel Leveau, industrialist, to recommend Africain governments [2] and soon possessor of «one of the most abundant collections of African art in Europe».

Asserting his will to help in knowledge and in preservation of the heritages of sub-Saharan Africa, foundation allocates grants of studies and of research in the domains of history and of ethnology, as well as help to publications. A non-profitmaking organisation is created in 1984 by the president and his wife. Christiane Falgayrettes-Leveau, native to Guyana and alumna of Maryse Cop, is then journalist specialised in the literature of the black world.

In May, 1986 she takes the direction of the museum which becomes established first in a private residence of the avenue Victor-Hugo, constructs by Charles Plumet in 1901, a modest space (500 m ²) which they achieve by a small court planted of bamboos and brackens.

Three
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