Résultat de la recherche : 'painting'
André Lhote
L'Escale, 1913, Musée d’Art Moderne, Paris.
André Lhote (5 July 1885 – 25 January 1962) was a French sculptor and painter of figure subjects, portraits, landscapes and still life. He was also very active and influential as a teacher and writer on art.
Lhote was born in Bordeaux and learnt wood carving and sculpture from the age of 12, when his father apprenticed him to a local furniture maker to be trained as a sculptor in wood. He enrolled at the École des Beaux-Arts in Bordeaux in 1898 and studied decorative sculpture until 1904. Whilst there, he began to paint in his spare time and he left home in 1905, moving into his own studio to devote himself to painting. He was influenced by Gauguin and Cézanne and held his first one-man exhibition at the Galerie Druet in 1910, four years after he had moved to Paris.
After initially working in a Fauvist style, Lhote shifted towards Cubism and joined the Section d'Or group in 1912, exhibiting at the Salon de la Section d'Or. He was alongside some of the fathers of modern art, including Gleizes, Villon, Duchamp, Metzinger, Picabia and La Fresnaye.
The outbreak of the First World War interrupted his work and, after discharge from the army in 1917, he became one of the group of Cubists supported by Léonce Rosenberg. In 1918, he co-founded Nouvelle Revue Française, the art journal to which he contributed articles on art theory until 1940. Lhote taught at the Académie Notre-Dame des Champs from 1918 to 1920 and later taught at other Paris art schools—including his own school, which he founded in Montparnasse in
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The Authenticity of African Sculptures
by Henri Kamer
The issue of authenticity of African art has been central to collectors for decades. Henri Kamer, who was president of the International Arts Experts Association at the time, published an outstanding account of the state of the matter in Artes d'Afrique Noire, No. 12 (1974). The text that follows is extracted from an English translation of that article, and has been edited further. The original includes a number of illustrations. They are not included here because I believe the text suffices without them.
The original version, including the illustrations, in French and with the English translation, is
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|escaper|escapen|escapetAfrican Art on the Internet |escaper|escapen |escaper|escapen|escapet |escaper|escapen |escaper|escapen|escapet |escaper|escapen |escaper|escapen|escapet |escaper|escapen |escaper|escapen|escapet15th Triennial Symposium on African Art, Arts Council of the African Studies Association, 2011, Wednesday, March 23 - Saturday, March 26, 2011, UCLA, Los Angeles, California |escaper|escapen |escaper|escapen|escapethttps://www.acasaonline.org/conf_next.htm |escaper|escapen |escaper|escapen|escapetAddis Art - Ethiopian Art and Artists Page |escaper|escapen |escaper|escapen|escapetContemporary Ethiopian art and artists - paintings, sculptures and digital art work by students and professionals from Addis Ababa, Ethiopia. University instructor, Getahun Assefa's paintings, drawings, sculpture, digital art. Also work by his brother, Tesfaye Assefa. Based in Addis Ababa, Ethiopia. [KF] https://www.addisart.com/ |escaper|escapen |escaper|escapen|escapetAddis Art - Nouveau Art from Ethiopia |escaper|escapen |escaper|escapen|escapetArtists include Shiferaw Girma and Lulseged Retta. Photographs of each artist's work, a biography, and video. Founded by Mesai Haileleul. [KF] https://www.addis-art.com/ |escaper|escapen |escaper|escapen|escapetAdire African Textiles - Duncan Clarke |escaper|escapen |escaper|escapen|escapetHistory, background, and photographs of adire, adinkra, kente, bogolan, Yoruba aso-oke, akwete, ewe, kuba, and nupe textiles. The symbolism of images is often provided. One can purchase textiles as well. Clarke's Ph.D. dissertation (School of Oriental and African Studies) is on Yoruba men's weaving. See also the Adire African Textiles blog. Based in London. https://www.adireafricantextiles.com/ |escaper|escapen |escaper|escapen|escapetAfewerk
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PHILLIPS Tom
AFRICA: The Art of a Continent
Détails sur le produit:
Broché: 620 pages - Editeur: Prestel; Édition: illustrated edition (30 décembre 1999)
Collection: African, Asian & Oceanic Art - Langue: Anglais
(ISBN: 3791320041 / 3-7913-2004-1)
PHILLIPS Tom - AFRICA: The Art of a Continent
Présentation de l'éditeur
Descriptions du produit:
Présentation de l'éditeur
From Library Journal
Associated with an exhibition at the Guggenheim Museum, this book provides a survey of 100 visually spectacular objects from Africa. As befits current thinking, the catalog (and exhibition) surveys the entire continent, including ancient Egypt and Nubia and north and northwestern Africa as well as the sub-Saharan region. Each object is reproduced in color and accompanied by extensive catalog entries written by over 60 expert contributors. The catalog section is preceded by five essays contributed by major scholars in the field. The essays discuss the nature of African art and its appreciation. Gates's article on the ambivalence displayed by 20th-century Western appreciation and Suzanne Blier's essay on the myths and misconceptions surrounding African art are especially valuable contributions. Highly recommended for any library with an interest in African art.?Eugene C. Burt, Art Inst. of Seattle Lib.
Book Description
As the birthplace of the human race, Africa possesses a cultural history of
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MEURANT Georges, THOMPSON Robert Farris
Mbuti Design: Paintings by Pygmy Women of the Ituri Forest
Détails sur le produit:
Relié: 224 pages - Editeur: Thames & Hudson Inc - 1996 - Langue: Anglais
ISBN-10: 0500974306 - ISBN-13: 978-0500974308
Descriptions du produit:
Thames & Hudson Inc, 1996. Hardcover. 300 x 245 mm. Brand New Book with Free Worldwide Delivery. The Mbuti people, who live in the Ituri rainforest of northeastern Zaire, are one of the few remaining hunter-gatherer cultures in the world. Since 3500 BC they have been famed for their rich arts of music and dancing, but until recently the barkcloth drawings and paintings originally made by the women as loincloths for ceremonies and dances have been virtually unknown in the west. The qualities of these drawings and their reflection of the Mbuti people's way of life, are explored and illustrated in this volume. The drawings are closely analyzed, examined both thematically and aesthetically, and the wider influence of African forager art forms on contemporary world art is
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DANFORD John - W.L. Stewart
NIGERIA IN COSTUME
Descrizione: The Shell Company of Nigeria Limited, 1960. Hardcover. John Danford (illustratore). First Edition. 4to - over 9¾" - 12" tall. Color painting illustrated. 103p. Fine copy in the original blue cloth. Publisher's deluxe full blue morocco stamped in gilt, minor rubbing of front hinge. Langue: Anglais. John Danford OBE was an artist working for the British Council in Nigeria; the Danford Collection of African Arts and Crafts is a nationally important collection at the University of Birmingham. These 48 full page colour reproductions of his paintings show the costumes, uniforms and ceremonial dress of the diverse peoples of Nigeria; the text describes the significance of the details. With a foreword by the Prime Minister of the Federation of Nigeria Sir Abubakar Tafawa Balewa. Preface by Mr. W L Stewart general manager of the Shell Company of Nigeria Limited with a blindstamp signature. Illustrations include: Benin woman chief in ceremonial dress, Festival dress for the Ekong dance Ibibio, Sir Ademola II Alake of Abeokuta, Base drummer, Ilorin local Administration police band, Mother and child Cameroons, Yoruba girl, Ilorin weaver and more. Unpaginated, navy cloth boards with bright gilt lettering on front board and spine, bright red endpapers. Boards slightly scuffed with mild edgewear; interior clean and crisp with no
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THE NEW CONGO COLLECTION
During the summer of 1912 the Museum acquired by purchase a collection of about two thousand
specimens consisting of weapons, utensils, ornaments, clothing and images from a number of African
tribes living in the Congo basin. This collection was, for the most part, obtained from the natives by the
well-known German traveler, Frobenius.
in a way which served at least to show what a variety of artistic activities and what a rich culture the in
a way which served at least to show what a variety of artistic activities and what a rich culture the
native Congo peoples possess.
native Congo peoples possess.
Visitors had an opportunity of admiring the wonderful carved wooden boxes and |
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Tribal Art - Jean-Baptiste BacquaLire la suite... ]
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Relations publiques et presse XXV Biennale des Antiquaires - Contact des expositions - Didier Aaron & Cie (Stand S5)118, rue du Faubourg Saint-Honoré75008 Paris – FRANCE Tél. : +33 (0)1 47 42 47 34 contact@didieraaron-cie.com - www.didieraaron.com 32 East 67th Street NY 10021 New York – USA Tél. : +1 212 988 52 48 - info@didieraaron.com Clifford House 15 Clifford Street W1S4JY Londres – ROYAUME-UNI Tél. : +44 20 7534 9100- contact@didieraaronltd.com Contact : Hervé AARON Spécialité Biennale : Mobilier et objets d’Art des 17e – 18e – 19Lire la suite... ]
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galeries art africain,gallerie art africain, galerie art africain, galerie d art africain, art,sculptures, art sculpture, galerie d art,galerie art en ligne, galerie art contemporain, expo art africain, galerie, exposition art africain, achat art contemporain, exposition, expositions, art africain, art premier, art primitif, arts premiers, arts primitifs, art, arts, primitif, primitifs, primitive, premier, premiers, tribal, tribals, african, africain, oeuvre, oeuvres, musée, museum, antiquités, antiquaire,antiques, Paris, Orsay, Verneuil, Mona Lisa, Louvre, galerie, gallery, Africa, Afrika,Afrique,histoire, history, art objects, objects, mask, masks, masque, masques, statues,statue, fétiches, fétiche, carving, siège, seat, appuie-nuque, artiste, artistique, achat,vente, expertise, Picasso, André, Breton, Jacques, Kerchache, Vlaminck, Quai Branly, Marcel,Griaule, Jean, Rouch, Cameroun, Bamiléké, Bamoun, Dogon, Bandiagara, Nigeria, Côte d'Ivoire,Ivory Coast, Liberia, Yoruba, Baoulé, Sénoufo, Kota, Bambara, Ashanti, Ghana, Bangwa, Cokwe,Tchokwe, Kifwebe, Burkina Faso, Gabon, Fang, Punu, Ethiopie, Ethiopia, Benin,art art africain primitif art primitives art mask yoruba african arts primitifs art arts premiers art africain expert gallery african galerie d'art africain masque statue art d'afrique noire exposition primitive tribal africa afrika, premier, premiers, art premier, arts premier, art premiers, arts premiers, musee art premier, musee arts premier, musee arts premiers, les arts premiers, les arts premier, les art premier, galerie art premier,galerie arts premier, galerie arts premiers, exposition art premier, exposition art premiers,exposition arts premiers, primitif, primitifs, art primitif, arts primitif, art primitifs,arts primitifs, musee art primitif, museearts primitif, musee arts primitifs, les arts primitifs, les arts, primitif,
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Masks
The viewing of masks is often restricted to certain peoples or places,
even when used in performance, or masquerade. African masks manifest
spirits of ancestors or nature as well as characters that are spiritual
and social forces. During a masquerade, which is performed during
ceremonial occasions such as agricultural, initiation, leadership and
funerary rites, the mask becomes the otherworld being. When collected
by Western cultures, masks are often displayed without their costume
ensemble and lack the words, music and movement, or dance, that are
integral to the context of African masquerades.
Visually, masks are often a combination of human and animal traits.
They can be made of wood, natural or man-made fibers, cloth and animal
skin. Masks are usually worn with costumes and can, to some extent, be
categorized by form, which includes face masks, crest masks, cap masks,
helmet masks, shoulder masks, and fiber and body masks. Maskettes,
which are shaped like masks, are smaller and are not worn on or over
the face. They may be worn on an individual’s arm or hip or hung on a
fence or other structure near the performance area.
Sculpture
The cultures of Africa have created a world-renowned tradition of
three-dimensional and relief sculpture. Everyday and ceremonial works
of great delicacy and surface detail are fashioned by artists using
carving, modeling, smithing and casting techniques. Masks, figures,
musical instruments, containers, furniture, tools and equipment are all
part of the sculptor’s repertoire.
The human figure is perhaps the most prominent sculptural form in
Africa, as it has been for millennia. Male and female images in wood,
ivory, bone, stone, earth, fired clay, iron and copper alloy embody
cultural values, depict the ideal and represent spirits, ancestors and
deities. Used in a broad range of contexts--initiation, healing,
divination,
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Artful Animals
July 1, 2009--February 21, 2010
Artful Animals, an exhibition dedicated to
young audiences, explores how African artists create striking works of
art using images from an array of domestic and untamed animals. From
rock art to contemporary painting, audiences will discover animals used
as symbols of royal arts, in masquerades for the ancestors and others
rarely seen. Many of the elements of design are derived through direct
observation of the animals in their natural habitat. It is the animal's
conduct and distinct behaviors that carry the messages in performances,
stories and proverbs. The approximately 125 works capture not only the
physical characteristics of animals but also the many ways that
animals, from spiders to leopards, act out our human shortcomings and
successes. Themes include notions of nurturing, power, wisdom,
transformation, beauty and aggression.
The National Museum of African Art is collaborating with Smithsonian
education units at the National Zoological Park, National Postal
Museum, National Museum of Natural History and Discovery Theater. Each
partner site will feature a host of multidisciplinary activities.
The programming project has been supported by the Smithsonian School Programming
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le Siècle du Jazz galerie Jardin billet exposition temporaire ou billet jumelé du 17 mars au 28 juin 2009 commissariat : Daniel SoutifLe jazz constitue, avec le cinéma et le rock, l’un des
événements artistiques majeurs du XXème siècle. Cette musique hybride a
marqué la culture mondiale de ses sons et de ses rythmes. L’exposition, conçue par le philosophe et critique
d’art Daniel Soutif, présente de manière chronologique les relations
entre le jazz et les arts graphiques à travers tout le XXème siècle. De la peinture à la photographie, du cinéma à la
littérature, sans oublier le graphisme ou la bande-dessinée,
l’exposition montre plus particulièrement le développement du jazz en
Europe et en France dans les années 30 et 40.
e parcours de l’exposition |
De l’africanisme aux études africaines Textes et « humanités » Alain Ricard Tout discours sur l'Afrique, et en particulier l'Afrique noire, ne peut il relever que de la passion, voire de lacompassion ? N’y a t-il que les fous d’Afrique – titre d’un livre récent – pour s’intéresser à elle ? Quelles formes de raison peut-il convoquer ?La première qui se présenta fut géographique. Sorte de page blanche de notre humanité jusqu'au XIXe siècle, l'Afrique a été inscrite avec nos routes, nos cartes, nos frontières ; aujourd'hui, les images satellitaires ne nous en laisentrien ignorer. Nous savons au mètre près ce qui se passe à Kisangani en guerre, là où Stanley donna à des chutes son nom : il avait compris que cette courbe du fleuve Congo était le centre du continent, il pensait en géographe et en stratège... Cette Afrique des images reste face à nous, extérieure : ne relève-t-elle pas aussi d'autres formes de raison plus intérieures, voire existentielles ? Quel immense murmure monte de la forêt ? Que dit-il ? Ces Africains ne sont-ils qued'empruntés francophones ou de pompeux anglophones ? Des bégayeurs maladroits ou des volubiles irresponsables ?L'inscription géographique, qui en reste à l'image, est trop facilement la proie de la marchandise. Aujourd'hui il nous faut le son, le discours. Des langues en expansion composent d'autres circulations que nous ne capterons pas avec nos satellites. Il nous faut passer de l'œil à l'oreille, du regard à l'écoute... Les blancs des cartes Les sciences humaines redécouvrent l’afrique, titrait un journal du soir après un colloque tenu à Nantes – « Les sciences de l’homme
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Jackson Pollock
Jackson Pollock
Nom de naissance Paul Jackson Pollock
Naissance 28 janvier 1912
Cody
Décès 11 août 1956
Springs (New York)
Nationalité Américain
Activité(s) Artiste peintre
Mouvement artistique Expressionnisme abstrait
Mécènes Peggy Guggenheim
Jackson Pollock, né le 28 janvier 1912 à Cody dans le Wyoming et mort le 11 août 1956 à Springs (New York), est un peintre américain, dont la technique (le « dripping ») lui a valu le surnom de Jack the Dripper (« Jack L'égoutteur », jeu de mots avec Jack the Ripper - Jack l'éventreur).
Biographie
Jackson Pollock est né à Cody aux États-Unis en 1912. En
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Arman, né Armand Pierre Fernandez le 17 novembre 1928 à Nice et mort à New York le 22 octobre 2005, est un artiste français, peintre, sculpteur et plasticien, célèbre pour ses "accumulations".
Biographie
Fils unique d'Antonio Fernandez, marchand de meubles et d'antiquités, d'origine espagnole, et de Marguerite Jacquet, d'une famille de fermiers de la Loire, le jeune Armand montre très tôt des dispositions pour le dessin et la peinture. Après son baccalauréat, il étudie à l'École des Arts décoratifs de Nice, puis à l'École du Louvre. Il rencontre Yves Klein et Claude Pascal à l'école de Judo qu'ils fréquentent à Nice en 1947. Avec ces deux amis il s'intéresse un temps aux philosophies orientales et à la théorie rosicrucienne .
Fin 1957, Arman, qui signait ses œuvres de son prénom en hommage à Van Gogh, décide d'abandonner le "d" d'Armand et officialise sa signature d'artiste à l'occasion d'une exposition chez Iris Clert en 1958. En octobre 1960 il fait l'exposition "le plein" où il remplit la galerie d'Iris Clert d'objets de rebut et contenu de poubelles sélectionné. Cette exposition fait le contrepoint de l'exposition "Le vide" faite deux ans plus tôt à la même galerie par son ami Yves Klein. En octobre 1960 également, sous la houlette du critique d'art Pierre Restany, il devient avec Yves Klein l'un des membres fondateurs du groupe des Nouveaux Réalistes = "nouvelles
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(de l’anglais, signifiant « peinture d’action »)Terme
proposé en 1951 par le théoricien Harold Rosenberg, s’appliquant aux
peintres de l’Expressionisme abstrait, et plus particulièrement à la
pratique de Jackson Pollock. L’action painting met en avant l’acte
physique de peindre et la gestuelle de l’artiste, qui semble entrer en
action avec le tableau, en lutte avec le support. L’œuvre devient ainsi
le témoin de la chorégraphie que l’artiste a effectuée. Il illustre les
pulsions de l’artiste au moment de son travail créateur. La technique
du dripping répond donc à cet objectif puisqu’elle permet de traduire
l’énergie de celui qui crée.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 / Paris / masques africains / mask /Agalom /
Armand Auxiètre / www.african-paris.com / www.agalom.com
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(de l’anglais, signifiant « peinture d’action »)Terme proposé en 1951 par le théoricien Harold Rosenberg, s’appliquant aux peintres de l’Expressionisme abstrait, et plus particulièrement à la pratique de Jackson Pollock. L’action painting met en avant l’acte physique de peindre et la gestuelle de l’artiste, qui semble entrer en action avec le tableau, en lutte avec le support. L’œuvre devient ainsi le témoin de la chorégraphie que l’artiste a effectuée. Il illustre les pulsions de l’artiste au moment de son travail créateur. La technique du dripping répond donc à cet objectif puisqu’elle permet de traduire l’énergie de celui qui crée.
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