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

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

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

Tristan Tzara (born Samuel or Samy Rosenstock, also known as S. Samyro; April 4 or April 16, 1896 – December 25, 1963) was a Romanian and Frenchavant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishmentDada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolulwith Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland. There, Tzara's shows at the Cabaret Voltaire and Zunfthaus zur Waag, as well as his poetry and art manifestos, became a main feature of early Dadaism. His work represented Dada's nihilisticside, in contrast with the more moderate approach favored by Hugo Ball.

After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of Littérature magazine, which marked the first step in the movement's evolution toward Surrealism. He was involved in the major polemics which led to Dada's split, defending his principles against André Breton and Francis Picabia, and, in Romania, against the eclecticmodernism of Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas Heart (1921) and Handkerchief of Clouds (1924). A forerunner of automatist techniques, Tzara eventually rallied with Breton's Surrealism, and, under its influence, wrote his celebrated utopianpoem The Approximate Man.

During the final part of his career, Tzara combined his humanist and anti-fascistperspective with a

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

Biography

André 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 conscriptedinto 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 Mediterraneanvillage of Collioureand later that year displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or "the wild beasts", marking the start of the Fauvist movement. In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to compose a series of paintings with the city as subject. In 30 paintings (29 of which are still extant), Derain put forth a

Pietro Paolo Savorgnan di Brazzà, best known as Pierre Paul François Camille Savorgnan de Brazza (January 26,1852 - September 14, 1905), was a Franco-Italian explorer, born in Italy and later naturalizedFrenchman. With the backing of the Société de Géographique de Paris, he opened up for France entry along the right bank of the Congo that eventually led to French colonies in Central Africa. His easy manner and great physical charm, as well as his pacific approach among Africans, were his trademarks. Under French colonial rule, Brazzaville, the capital of the Republic of the Congo was named in his honor.

Early  years

Born in Rome on January 26,1852, Pietro Savorgnan di Brazzà was the seventh son of Count Ascanio Savorgnan di Brazzà, a nobleman of Udine with many French connections and Giacinta Simonetti. Pietro was interested in exploration from an early age and won entry to the French naval school at Brest, graduated as an ensign, and went on the French ship Jeanne d'Arc to Algeria.

Exploration to Africa

His next ship was the Venus, which stopped at Gabonregularly, and in 1874, de Brazza made two trips, up the Gabon Riverand Ogoue River. He then proposed to the government that he explore the Ogoueto its source, and with the help of friends in high places, including Jules Ferryand Leon Gambetta, he secured partial funding, the rest

Jean Rouch (31 May1917 - 18 February2004) was a French filmmaker and anthropologist.

He began his long association with African subjects in 1941 after working as civil engineer supervising a construction project in Niger. However, shortly afterwards he returned to France to participate in the Resistance. After the war, he did a brief stint as a journalist with Agence France-Presse before returning to Africa where he become an influential anthropologist and sometimes controversial filmmaker.

He is considered as one the pioneers of Nouvelle Vague, of visual anthropology and the father of ethnofiction. Rouch's films mostly belonged to the cinéma vérité school – a term that Edgar Morinused in a 1960 France-Observateur article referring to Dziga Vertov's Kinopravda. His best known film, one of the central works of the Nouvelle Vague, is Chronique d'un été (1961) which he filmed with sociologist Edgar Morin and in which he portrays the social life of contemporary France. Throughout his career, he used his camera to report on life in Africa. Over the course of five decades, he made almost 120 films.

He died in an automobile accident in February 2004, some 16 kilometres from the town of Birnin N'Konni in central Niger.

Main films

• 1954: Les Maîtres Fous (The Mad

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