Result of the research : 'museum'
CHAMBA
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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 / www.agalom.com
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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.
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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 lifePollock 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 techniqueIn 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
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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
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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 lifeAmedeo 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
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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
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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
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Mukudj Mask, 19th–20th century Punu people, Gabon Wood, pigment, kaolin; H. 13 1/2 in. (34.3 cm) Purchase, Louis V. Bell Fund and The Fred and Rita Richman Foundation and James Ross Gifts, 2000 (2000.177) The Metropolitan Museum of Art african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / l'oeil et la main / galerie d'art premier / Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com
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Anne-Louise Amanieu
Ecole du Louvre
Specialty Arts of Africa
December 2007
Fang mask society Ngil, Gabon, Pavilion des Sessions at the Louvre
IDENTIFICATION
Fang mask the Pavillon des Sessions consists partly of wood covered with kaolin and measure about 70 cm high. It dates from the late nineteenth century or early twentieth. Listed under the inventory number 65-104-1, it comes from the former collection of André Lefèvre and was acquired in 1965 by the Museum of Man.
DESCRIPTION
This great helmet mask represents a stylized human face, whose face and elongated heart-shaped and slightly concave is shared by a long thin nose. On the top of the forehead develops a studded headband for attaching ornaments and who bears a ridge with extension to the front leads by three strokes for joining the nasal bridge and deployed above the eyebrows. The C-shaped ears stand out in high relief on both sides of the face, as the eyes and mouth, they are barely mentioned by simple incisions highlighted by thin slits etched tattoos that recall that arborist and the Fang Ntoumou Mvai by Günter Tessmann.
ANALYSIS
The mask of Ngil (NGI) exists only among the Fang, the people established the Sanaga River (southern Cameroon) Ogooué River (northern Gabon) and in Equatorial Guinea after a period of migration to the eighteenth and
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Arman (November 17, 1928 – October 22, 2005), was a French-born Americanartist.Born Armand Pierre Fernandez in Nice, France, Arman is
a painter who moved from using the objects as paintbrushes ("allures
d'objet") to using them as the painting itself. He is best known for his
"accumulations" and destruction/recomposition of objects. BiographyArman's father, Antonio Fernandez, an antiques dealer in Nice, was also an
amateur artist and photographer, as well as a cellist. From his father, Arman
learned oil
painting and photography. After receiving his bachelor's degree in
philosophy and mathematics in 1946, Arman began studying at the Ecole Nationale
d'Art Decoratif in Nice. He also began learning Judo at a police Judo
School in Nice where he met the artists Yves Kleinand Claude Pascal. The trio would
bond closely on a subsequent hitchhiking tour of the nations of Europe. Completing
his studies in 1949, Arman enrolled as a student at the École
du Louvre in Paris,
where he concentrated on the study of archaeology and oriental art. In 1951,
Arman became a teacher at the Bushido Kai Judo School. During this time he also
served in the French military, completing his tour of duty as a medical orderly
during the Indo-Chinese War. Early careerEarly in the development of his career, it was apparent that Arman's concept
of the accumulation of vast quantities of the same objects was to remain a
significant component of his art. Ironically, Arman had
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Pablo Diego José Francisco de Paula
Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Martyr Patricio Clito Ruíz y Picasso (25 October 1881 – 8 April 1973) was
an Andalusian-Spanishpainter, draughtsman,
and sculptor.
As one of the most recognized figures in twentieth-century art, he is best known for
co-founding the Cubistmovement and for the wide variety of styles embodied in his work. Among his
most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and
his depiction of the German bombing of Guernica during the Spanish Civil
War, Guernica (1937) Biography Picasso was baptized Pablo Diego José
Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima TrinidadClito, a series of names honouring various saints and relatives. Added to these
were Ruíz and Picasso, for his father and mother, respectively, as per Spanish
custom. Born in the city of Málaga in the
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From humble beginnings, Paul Guillaume
(1891–1934) rose to become one of the leading cultural players and art
dealer-collectors of Paris in the early twentieth century. Guillaume
died at the age of forty-two, by which time he had amassed an
outstanding private collection of works by leading modernists. Unlike
many art collectors of the time, Guillaume did not come from a wealthy
and cultivated background, nor was he only interested in simply
supplying works of art for customer demand like other art dealers. He
also actively promoted certain aspects of the artistic and cultural
life of Paris, providing moral and material support to artists, and
interpreting the art of his time for his contemporaries. This approach,
while not uncommon today, was innovative at the time and had previously
been attempted by only a few courageous dealer-collectors in Paris,
such as Paul Durand-Ruel and Ambroise Vollard. Guillaume was celebrated
by the artists whom he supported; for instance in Modigliani's portrait
the words Novo Pilota, or ‘new helmsman’, identify the sitter as being
at the forefront of modern art.
Guillaume's
premature death prevented his dream – of transforming his private
collection to a museum of modern art – from being realised. After his
death Domenica, his widow and heir, remarried and modified the existing
collection, selling some of the more extreme avant-garde works (and
later his collection of African art and modern sculpture) and acquiring
works of a more conservative character. Domenica's concern to promote
harmony among the works in the Guillaume collection made her edited
version of the collection all the more typically a capsule of Parisian
taste in the 1920s. Before he died, Paul Guillaume had resolved to give
his collection to the Louvre. Domenica, a lover of
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Jean Paul Barbier-Mueller is a Swiss collector, born in Geneva in 1930. Biography
He has been under the influence of a passionnate father : poetry, philosophy,
musicor science (he got his PhD in biology at the age of 47).
After law studies in Geneva and London, he registers at the Bar and become
manager, at the age of 28, of a financial society. In 1960, he creates his own
society, the Private Society of Managment, specialized in the managment of the
housing stock and construction of social flats.
Collector as his father-in-law Josef Mueller, he goes in for « non-western »
arts. With his wife Monique, he creates in 1977 the Barbier-Mueller museum,
which organize more than seventy-five exhibitions, most of them attended with
importants catalogues, presenting the differents sections of the familial
collection, with the contribution of major european, american and asian
museums. He carries out or finances researches in Sumatra, in Ivory Coast and
Guinea. He’s one of the best expert of the Batak ethnic group, in the north of
Sumatra. In may 1997, the Barbier-Mueller precolombian art museum opens
opposite to the Picasso museum, in Barcelona. The town council offers a
long-time loan from the Nadal Palace to expose around 400 works of art from
Pre-Hispanic America. Jean Paul Barbier-Mueller is also a recognized specialist of the poetry and the
french history of the 16th century. Bibliophile since the age of 13, he has gathered
one of the most full library devoted to Ronsard and other authors of the Pléiade.
Entitled « Ma Bibliothèque poétique », the catalogue of this collection
count 7 volumes already published. Jean Paul Barbier-Mueller has also written
many articles for journals such as « Bibliothèque d’humanisme »,
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african art / art africain / primitive art / art primitif / arts
premiers / art gallery / art tribal / tribal art / l'oeil et la main /
galerie d'art premier / Agalom / Armand Auxiètre /
www.african-paris.com / www.agalom.com
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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 / www.agalom.com
[ See the continuation... ]
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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 / www.agalom.com
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Armand Auxiètre always bathed in the world of the collection.His
grandfather and his father before him constituted, according to time
and discoveries, a collection of many and various objects, ancient books and objects coming from all parts of Africa.During his youth, Armand evolves in a particular world, where he educates his look naturally.Having
crossed several certificates of cabinetmaking, he crosses successfully
his certificate of the jobs of art to the Ecole Boulle, and develops
at the same time his knowledge in african art.The attraction between the african sculpture and Armand Auxiètre is first plastic, immediate, obvious.A love was born, which will be developed in the course of meetings, discoveries and of readings.Soon
the pleasure of being encircled with items becoming too big to resist
the desire to share this passion, Armand takes back the ancient
bookshop of his grandmother, and perpetuates the family presence
initiated in the fifties in 41, street of Verneuil, by creating the
gallery "L'Oeil et la
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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 / www.agalom.com
[ See the continuation... ]
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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 / www.agalom.com
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- 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.
A Achi - Adangmé - Adio - Afar - Afo - Aka - Akan - Akyem -
Akwaim - Alagya - Aman - Amhara - Amba - Ambo - Angoni - Anga - Ankwé -
Ano - Anyi
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