As art evolves through time and cultures, it often influences newer artists and eras. This influence in style evolution is apparent in the 19th century where African culture, art such as sculptures and painting, highly sway European and American art.
Following the British force attack on Africa in the late 1800’s, many artistic items such as sculptures and precious works in brass, ivory, terracotta and wood were taken from the Benin palace and shipped to Europe. (Getlein, 2016, pg. 419) In the aftermath of the colonial conquest and several exploratory expeditions, much of Africa precious décor was being exhibited in places such as Berlin, Munich and London. When African artifacts were first found, and exported to Europe no one really understood
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Since Picasso and Matisse had become such close friend they had traveled to the Congo together where they had witnessed the detailed sculptures created by African artist. One of these sculptures was “identified as a Vili figure from the Democratic Republic of Congo” (Murrell, 2008). Picasso once told curators that “the African sculptures, he said, had helped him to understand his purpose as a painter, which was not to entertain with decorative images, but to mediate between perceived reality and the creativity of the human mind—to be freed, or “exorcised” (Murrell, 2008). This in itself show how much African art had inspired and changed how European artist looked at art and the way that would create it. The influence of African art did not stop with Picasso and Matisse in Europe, it was soon seen by artist in …show more content…
This gave more American artist the ability to see these amazing creations of art that where not only made of visual influences but imaginary as well. New York artist Wilfredo Lam was another artist who was influenced by this created his African influence masterpiece “The Jungle” in 1943. It was said that Lam’s “The Jungle” echoed Picasso’s 1907 creation Les Demoiselles d’Avignon. This shows that even as time passes African art has been so influential that it has blended into art across America and Europe (Kanga,
“A picture is a poem without words” – Horace, the purpose of art is to reveal the sensations of life but also allows humans to express their emotions and views on certain aspects. Jean-Michel Basquiat was a Neo-Expressionist painter throughout the 1980’s who was known for his style. He was African American artist and musician that was part of the SAMO. The SAMO was a graffiti group that wrote epigrams. While growing up, one of Basquiat inspirations that encouraged him to paint was his diverse cultural heritage. Basquiat was a creative self-taught artist who thought outside of the box when it came to painting. Most of the pieces he made were a collaboration of different ideas and constructed them together into a collage. During the 1980’s Basquiat’s art used the human figure to portray Minimalism and Conceptualism. His target market that were in many of his pieces was on suggestive dichotomies that focused on the lower class versus the higher class. Even though Basquiat work was remarkable, he was criticized and faced some challenges among his journey because of the symbols and words that were used his paintings. Despite the criticism,
Initially there was a great deal of debate about Benin art and its display, as it did not equate with the perceptions then held about Africa. Until the British conquest of Benin in 1897, little was known about Benin and its culture apart from brief interaction with other Europeans in the sixteenth century. The perception of Africa was of a primitive, savage and uncivilised land, full of ‘abuses and fetishes and idolatries’, (Hodgkin, 1975, p33). Therefore, when the British invaded Benin they treated any artefacts they found as ‘war booty’ (Woods, 2008, p30) and sold anything of any value to pay for the expedition. They removed artefacts and artwork without recording any contextual evidence of form or function. These ideas are evident in the photographs in figures 1.10 on page 31, 2.2 on page 50 in Cultural Encounters (AA100, Book 3) and Plate 3.1.14 in the Illustration Book: Plates for Book 3 and 4 where artefacts are bundled into piles with centralised white figures suggesting only British triumph (Loftus, 2008). The ‘clever workmanship’ (Gallewey, 1893b, p37) and ‘delicacy of detail’ (Bacon, 1897, p39) attest to the quality of the artwork and the subsequent bidding by rival museums and galleries for the pieces did not prevent the perception that Africa, and thus Benin, as being barbaric and primitive.
Pablo Picasso is one of the most famous and well-documented artists of the twentieth century. Picasso, unlike most painters, is even more special because he did not confine himself to canvas, but also produced sculpture, poetry, and ceramics in profusion. Although much is known about this genius, there is still a lust after more knowledge concerning Picasso, his life and the creative forces that motivated him. This information can be obtained only through a careful study of the events that played out during his lifetime and the ways in which they manifested themselves in his creations (Penrose).
My friends, after traveling through the Asian continent and Japan, I continued on to the Americas. The art in the Americas has three regions, North America, Central America, and South America. Each region has a very distinct aspect to their forms of art. All cultures have some kind of art. Being curious about art, I have collected samples from five different areas. The following works of art are very different from European art, but there are still some similarities. The similarities of the human spirit are evident in the following images.
Western attitudes to African people and culture have always affected how their art was appreciated and this has also coloured the response to the art from Benin. Over time, concepts of ‘Race’, defined as a distinct group with a common lineage, and ‘Primitive’ which pertains to the beginning or origin,, have been inextricably linked with the perception of Africa. The confusion of the two in the minds of people at the end of the 19th century, and some of the 20th, caused a sense of superiority amongst the ‘White Races’ that affected every aspect of their interaction with ‘the Black’. The ‘Civilisation’ of Africa by conquest and force is justified by these views.
“For Englishmen, the most arresting characteristic of the newly discovered African was his color. Travelers rarely failed to comment upon it; indeed when describing Africans they frequently began with complexion and then moved on to dress (or, as they saw, lack of it) and manners (Jordan 1).”
In the first segment of his film series, Different but Equal, Basil Davidson sets out to disprove the fictitious and degrading assumptions about African civilization made by various Western scholars and explorers. Whether it is the notion that Africans are “savage and crude in nature” or the presumed inability of Africans to advance technologically, these stereotypes are damaging to the image and history of Africa. Although European Renaissance art depicts the races of white and black in equal dignity, there was a drastic shift of European attitudes toward Africa that placed Africans in a much lower standing than people of any other culture. The continent of Africa quickly became ravished by the inhuman slave trade and any traditional civilization
There is no art, music, and literature like here in sub-Saharan Africa. What is important to Westerners, such as the artist, label, and static-like wall hanging, means nothing to us. African art is living, spiritual, and meant to go back to the Earth once the soul of the item has run out. As the Bamana of Mali say, the art are “things that can be looked at without limit”. Our artwork has changed, emerged, and survived eras of turmoil and inversely, hope. I have found passing through the global gateway into Africa has made me appreciate this culture more, and appealed to me on a level that made me choose being a part of it.
His work is mostly famous with his Cubism events. As he enters its twenty-fifth year, Picasso changed his style of painting. It breaks down and reproduces objects in simple geometric shapes. Cézanne, African tribal art and Iberian sculpture would be the inspiration the painter when it turned to Cubism. (Picasso, P. (1970) With the Demoiselles d 'Avignon that this new style explodes in 1907. That same year, he met Georges Braque with whom he develops the power of Cubism. The two work closely together. To address the problem of representing what exists in three dimensions on a two dimensional surface, Braque and Picasso bring a new answer. They replace the usual codes of color, volume and perspective through a system of geometric signs. They will add to it, in a subsequent phase (synthetic cubism), the use of pieces of various materials (sand, paper, metal, wood, fabric, cardboard ...) to avoid falling into abstract art. Picasso abandons Cubism in 1915. (p25) It had been demonstrated that his work had given a big importance in our current historical events and how it was also given a big importance in his times such as in the support of the cubism
...best case for the retention of the British Benin sculptures is to accord them the unique status they deserve as exceptional artworks and exhibit them appropriately in a prestigious national art gallery, for everyone to appreciate fully.
The artworks of Benin arrived in Britain at time of great interest in the British empire .The British museum first opened in 1759 , and Soon became famous in the antiques exhibits from all around the world , then in the 19th country, The British Museum is getting its growth with the study of Anthropology and ethnography and ethnological is study the Customs and Traditions of particular groups of people and how they development from savagery to civilization . the anthropologist and museum curator Henry Ling Roth he thinks this artifacts are very important to British museum for study of anthropology ,and such as this study may help the imperial government of Britain to show its superiority. And Joyce has written about how the art of Benin displayed in the encyclopedia and how was the progress and the evolution of the negro physically and mentally ,and how the anatomic study science shows the progress the mind of Negros . the crafts produced only by the influence of the Europeans ,that shows inferiority of negro, but Benin saw their crafts and plates are things just for sale.
As his fame continued to grow, his art work developed a sort of sophistication and prestige. Basquiat began to expand his work by attending art festivals and events in other states and countries than just New York. One of his favorite places to visit was Africa.“This expansive work of the 1980’s compresses together the relationship of Egypt to Africa, with reference to more local centers of African-American music within southern culture (www.theartstory.org). Instead of displaying his work with the streets of New York, He exhibited his artwork in various places throughout the world, especially at the Kestner-Gesellschaft Gallery in Hanover, Germany.“His work and style received critical acclaim for the fusion of words, symbols, stick figures, and animals. His painting came to be adored by an art loving public…”(biography.com). The expansion of Basquiat work had become world wide topic that gained many art observers and critics
The exhibition is not too large as it only contains around eighty artworks. These works all have African Americans as the main subject since Marshall believes that African Americans deserve more attention in art because they are almost “invisible” in a way. Mastry is arranged chronologically, starting with Marshall’s earlier works and then leading to galleries with themes such as beauty or the civil-rights struggle. Mastry should be visited because it allows a person to learn about African American art which is underrepresented and underappreciated. The general idea or thesis of this exhibition is that African Americans have been looked down on throughout history and viewed as subhumans, or even invisible. Marshall’s exhibition is about appreciating African Americans and viewing them as what they are: humans.
Kasfir, S. L. (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.
The Europeans saw Africa as being a great place to obtain all types of resources from labor to natural materials. Items such as cotton, coal, rubber, copper, tin, gold, and other metals were considered very valuable and readily available in Africa (Nardo). The industrial revolution had already become a strong influence on the countries that attended the Conference. They had spent the past...