Mande – Tresors Millenaires – Ancient Treasures

Ethnoflorence

An Interdisciplinary experience

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Mande – Tresors Millenaires – Ancient Treasures

BRUNEAF – CULTURES in June 2016

BERNARDE DE GRUNNE

KRISTINA VAN DYKE

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 https://issuu.com/bernarddegrunne/docs/mande-tresors-millenaires-ancient-t/1

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ARTS PREMIERS

LE SOURCES

MM. Charles Ratton et Louis Carre’

SCULPTURES ET OBJETS

AFRIQUE NOIRE

AMERIQUE ANCIENNE

POLYNESIE ET MELANESIE

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https://ethnoflorence.wordpress.com/category/arts-premiers-le-sources/

CHEZ

M. LOUIS CARRE’

du 5 au Jullet 1933

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Sotheby’s Paris Statue Fang ex Felix Feneon est 2,5 to 3,5 mil

ETHNOFLORENCE N 791

Sotheby’s Paris

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ARTS d’AFRIQUE ET d’OCEANIE

18 JUNE 2014

4:00 PM

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 Lot 36 STATUE, FANG MABEA, DÉBUT XIX SIÈCLE, CAMEROUN
haut. 67,5 cm
26 2/3 in

Estimate 2,500,000 — 3,500,000

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Provenance
Collection Félix Fénéon, Paris (1861-1944) Etude Bellier, Hôtel Drouot, Paris, “Collection Fénéon. Afrique, Océanie, Amérique”, 11-13 juin 1947, n° 63, pl. IV Collection Albert Kleinmann, Paris
Loudmer, Poulain & Cornette de Saint-Cyr, Hôtel Drouot, Paris, 18 décembre 1972, n° M Collection Jacques et Anne Kerchache, Paris Collection Robert T. Wall Family

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Exhibited
Bruxelles, Palais des Beaux-Arts, L ’ Art Nègre, 15 novembre – 31 décembre 1930 Paris, Théâtre Edouard VII, La sculpture des Noirs de l ’ Afrique, décembre 1936 – janvier 1937 Paris, Cercle Volney, Les Arts Africains, juin – juillet 1955 Rome, Villa Medici, Scultura Africana : Omaggio a André Malraux, 6 mai – 15 juin 1986 New York, The Metropolitan Museum of Art, Eternal Ancestors : the Art of the Central African Reliquary, 2 octobre 2007 – 2 mars 2008 Bâle, Fondation Beyeler, Visual encounters : Africa, Oceania, and Modern art , 25 janvier – 28 juin 2009

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PHOTO ETHNOFLORENCE
TEXT CREDIT SOTHEBY’S

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ERIC CHAZOT

KARNALI, HUMLA, SIMIKOT

AN IMPRESSION https://ethnoflorence.wordpress.com/category/bibliography-india-himalaya-a-selection/

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Eric Chazot Karnali, Humla, Simikot

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Photo Eric Chazot https://ethnoflorence.wordpress.com/category/bibliography-india-himalaya-a-selection/

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Rajbansi mask folk cultural festival Mechinagar Nepal

MASK OF THE DAY

ETHNOFLORENCE N 757

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INDIAN AND HIMALAYAN MASKS

AN HIDDEN HERITAGE

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RAJBANSI people MASK

exhibited during a folk indigenous cultural festival

in

MECHINAGAR

Nepal

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INDIAN AND HIMALAYAN MASKS

AN HIDDEN LIVING TRADITION

Humla Jumla

Gaijatra

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DEUS LOCI

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Well known photo by JP Girolami edited on

Tribal Art Magazine

winter 2000

Art and Shamanism in the Himalayas

Eric Chazot/JP Girolami

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https://ethnoflorence.wordpress.com/category/collection-eric-chazot/

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THE WORLD OF TRIBAL ARTS

AN INTERDISCIPLINARY

HERITAGE

THE SOURCES https://ethnoflorence.wordpress.com/category/arts-premiers-le-sources/

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JAMES COOK TRAVELS

1790

VOL 1

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NEGERPLASTIK CARL EINSTEIN LE SOURCES DE L’ART PREMIER

L’AVENTURE DES ARTS PREMIERS

L’évolution d’un regard

*

LE SOURCES

https://ethnoflorence.wordpress.com/category/arts-premiers-le-sources/

*

IV

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EN ROUTE VERS LE LOUVRE

Enquête des Arts lointains: Seront-ils admis au Louvre?

Felix Feneon

1920  

“Lorsque le musée du Louvre recevrà l’art nègre, il y trouvera non son complément, mais son principe”

 Lucie Cousturier, peintre et escrivain, 1920

see more on

  https://ethnoflorence.wordpress.com/2012/07/19/enquete-des-arts-lointains-seront-ils-admis-au-louvre-felix-feneon-1920/

*****

ALFRED STIEGLITZ

Galerie

291

1916

TEXT BY

M.DE ZAYAS

“Modern art is not individualistic and esoteric and even less an expression of a spontaneus generation.” 

SEE MORE 

ON

https://ethnoflorence.wordpress.com/2012/07/20/alfred-stieglitz-galerie-291-m-de-zayas-1916-arte-negra/

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ROGER FRY

SCULPTURE NEGRE

VISION AND DESIGN

1920

Ce qui distingue pour Fyes la sculpture africaine de la tradition occidentale est sa  “complete plastic freedom,” 

et la possibilité de créer “forms in three dimensions”  SEE MORE ON

https://ethnoflorence.wordpress.com/2012/07/20/roger-fry-negro-sculpture-vision-and-design-1920/ 

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CARL EINSTEIN

NEGERPLASTIK

1915

Negerplastik

est

l’un des premier lien entre l’art nègre et le mouvements de l’art moderne.

 

L’auteur fut le premier à présenter la sculpture traditionnelle africaine en termes esthétiques, par opposition à  le artefacts ethnographique, postulant une façon de voir l’espace :   “plastiches Sehen” qui aborde les problèmes du cubisme. 

 

Ce n’est pas une histoire de la sculpture africaine car elle ignore les peuples qui ont fait des sculptures.

 

Einstein adhéré à la théorie que la sculpture “parlé” directement au spectateur et ne nécessitent donc pas

informations de fond.

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PHOTO CREDIT OF

http://www.archive. org

http://archive.org/details/negerplastik00einsuoft

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ROGER FRY NEGRO SCULPTURE VISION AND DESIGN 1920

L’AVENTURE DES ARTS PREMIERS  

LE SOURCES

https://ethnoflorence.wordpress.com/category/arts-premiers-le-sources/

III 

* 

EN ROUTE VERS LE LOUVRE  

  • Enquête des Arts lointains: Seront-ils admis au Louvre?

 Felix Feneon

1920

 see more on

https://ethnoflorence.wordpress.com/2012/07/19/enquete-des-arts-lointains-seront-ils-admis-au-louvre-felix-feneon-1920/ 

***

ALFRED STIEGLITZ

 Galerie

 291

1916

 TEXT BY

M.DE ZAYAS

 SEE more on https://ethnoflorence.wordpress.com/2012/07/20/alfred-stieglitz-galerie-291-m-de-zayas-1916-arte-negra/

ROGER FRY SCULPTURE NEGRE VISION AND DESIGN 1920

Dans l ‘enquête de Félix Fénéon “Enquête des Arts lointains: Seront-ils admis au Louvre?”  Paul Guillaume répond

 “…J’espere venir a bout d’un ouvrage important pour lequel je me recuille…” (pag 695).

 

Le projet d’élaborer un travail plus détaillé que celui de 1917 en collaboration avec Apollinaire 

(Sculptures Nègres: 24 photographies précédées d’un avertissement de Guillaume Apollinaire et d’un exposé 

de Paul Guillaume.). 

 

En 1923, Albert  Barnes contact Paul Guillaume , à qui il a acheté sa collection d’art africain pour l’amener à 

collaborer à la création d’un catalogue  consacrée à l’art nègre sur la base de l'”systematic” method of aesthetic 

analysis ‘ 

 

Le catalogue sera Primitive Negro Art, 1926.

 

Parmi les auteurs qui avaient déjà commencé à dessiner très peu de raisonnement esthétique, dans ce contexte pourraient 

inclure Carl Einstein: Negerplastik, peut-être la enquête de Feneon, presque certainement un petit texte de Roger Fry.

 

Chez la galerie de Guillaume,Albert Barnes s’est réuni et a discuté de l’Art Negre et contemporaine avec Roger Fry, 

personnalité  très important pour la peinture française, et ami de Cézanne.

 

En Avril 1920 Fry avec Virginia Woolf visité une petite exposition de sculpture africaine au Club du livre de Chelsea

à Londres, Fry s’inspirant de ca pour un court essai, publié dans un magazine local, et peu de temps après dans son 

livre Vision and Design, intitulé sculpture nègre .

 

Ce qui distingue pour Fyes la sculpture africaine de la tradition occidentale est sa  “complete plastic freedom,” 

et la possibilité de créer “forms in three dimensions”.

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http://archive.org/index.php

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Alfred Stieglitz galerie 291 M. De Zayas 1916 Arte Negra

L’AVENTURE DES ARTS PREMIERS

L’évolution d’un regard

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LE SOURCES

II

*

EN ROUTE VERS LE LOUVRE

Enquête des Arts lointains: Seront-ils admis au Louvre?

Felix Feneon

1920

see more on https://ethnoflorence.wordpress.com/2012/07/19/enquete-des-arts-lointains-seront-ils-admis-au-louvre-felix-feneon-1920/

***

**

*

ALFRED STIEGLITZ

Galerie

291

1916

TEXT BY

M.DE ZAYAS

Modern art is not individualistic and esoteric and even less an expression of a spontaneus generation.

It shows itself more and more frankly an art of DISCOVERIES.

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Modern art is not based on direct plastic phenomena, but on epiphenomena, on transposition and on existing

evolutions.

In its plastic research modern art discovered Negro Art.

Picasso was its discoverer.

He introduced into European art, throug his own work,the plastic principles of negro art, the point of departure 

for our abstract representation.

Negro art has had thus a direct influence on our comprehension of form, teaching us to see and feel in purely expressive  side and opening our eyes to a new world of plastic sensations.

Negro art hs re awakened in us a sensibility obliterated by an education, which makes us always connect what we seen with what we know, our visualization with our knowledge, and makes us, in regard to form, use our intellect more than our sense.

It through European art, we have acquired the comprehension of form, from naturalistic point of view, arriving at mechanical  representation, Negro art has made us discover the possibility of giving plastic expression to the sensation  produced by the outer life, and consequently,also the possibility of finding new forms to espress our inner life.

Negro art product of the ‘land of fright’, reated by a mentality full of lear, and completely devoid of the faculties of observaton and analysis,is the pure expression of the emotions of a slave race, victim of nature, who see the outer world only under its most intensely expressive aspect anf not under its natuaral one.

The introduction of the plastic principles of African art into our European art does not constitute  a retrogradation or a 

decadence, for through them we have realized the possibility of expressing ourselves plastically without the recurrance of direct imitation of fanciful symbolism.

M. DE ZAYAS

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§

 

Enquête des Arts lointains: Seront-ils admis au Louvre? Felix Feneon 1920

L’AVENTURE DES ARTS PREMIERS

LE SOURCES

*

EN ROUTE VERS LE LOUVRE

*

Enquête des Arts lointains: Seront-ils admis au Louvre?

Felix Feneon

1920

*

En 1920 le critique Felix Feneon fait une enquete sur les ‘arts lontaine’, qui sera publiée dans le Bullettin de la vie Artistique.

A la fois l’éscrivain Guillaume Apollinaire fait campagne en faveur des “chefs-d’oeuvre exotiques” militant pour leur entrée au Louvre.

*

L’enquête s’inscrit dans le cadre de la genèse de deux mouvements historiques, qui combine la naissance de la discipline anthropologique  et la découverte de l’arte negre par les artistes, peintres et sculpteurs occidentaux.

*

“Lorsque le musée du Louvre recevrà l’art nègre, il y trouvera non son complément, mais son principe”

(Lucie Cousturier, peintre et escrivain, 1920)

*

 

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http://archive.org/details/lebulletindelavi22pariuoft

http://www.archive.org

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AFFINITÉS DANS LE MONDE DES ARTS TRIBAL

ARCHÉTYPES

AFFINITÉS DANS LE MONDE

DES

ARTS  TRIBAL 

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ARCHETIPI

AFFINITA’ NEL MONDO 

DELLE

ARTI TRIBALI

UNA RICERCA ICONOGRAFICA

SETTIMANALE

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ARCHETYPES

AFFINITIES IN THE WORLD OF THE TRIBAL ARTS

AN ARCHETYPAL

WEEKLY

RESEARCHE

1

 

1920.jpg

In the introduction to the catalog of 1984

‘Primitivism in 20th Century Art’,

William Rubin speaks of the influences 

and affinities between ‘primitivism’ and  ‘modernism’.

An interesting research.

In the catalog of Rubin,

obviously,

are not mentioned works from the Himalayan region,

paradoxically,

the first examples of these arts,

documented photographically by Tucci in the early  50’s,

began to appear on the market of Kathmandu  just in the 80’s7258145710_28b6dc8911_o.jpg

7258054434_68c61dfe0f_o.jpg

In 1984 the Museum of Modern Art celebrated with a big show the interconnection between primitive plastic art and modern and 

contemporary art. 

In 1984 no one knew what it was for example an archaic figure  of the nepalese  Humla district. 

I doubt few even today. 

7258144326_d9451a166a_o.jpg

A correlation, an influence or affinity with the avant-gardist art world in Europe or,

and with the spread of modernism in North America is clearly not possible.

Two historical circumstances that contributed, however, to the knowledge of the arts of non-European cultures one century ago.

00cover.jpg

What I would try to document from today, is any similarity, affinity in style between the popular arts of the Himalayas regions and the most quoted and studied and celebrated the primitive arts.

Outside of a standardized iconography, the Himalayan objects appeared between 1980 and 2000 to show an originality that makes them often… 

unique.

The same thing had happened probably for the first Africans items arrived in Europe.

An example.

In 1906 appeared the so called Fang Derain mask in Paris, according Rubin a ‘strictly mediocre’ item, but with a quite realistic style, something that liked and contribuited to its rapid ‘assimilation and popularity’.

The item, by the way, was immediately replicated ‘en série’,  there is an half dozen of masks virtually identical with  the Vlaminck/Derain mask, the Museum of Fine Arts, Columbus, Ohio,mistakenly, published it’s example as ‘the’ original one…. another copy is in the colletion of the Ethografisch Museum in Antwerpen. 

That’s only an example, what is really important to outline is that while item like these mask were standardized as sale items, some element of the standardization entered, very probably, even in the items for cult purposes.

A sort of double influence, at the end.

For this reason I’ll try to find affinites only with items, that are reputated’sure’ and not ‘contaminated’ from a stilistic point of view.

I would like to start today with a very unusual Congo (?) figure

 

046.jpg

 The item was attested in the 1913 in the Brummer Collection,

Paris

than from 1921 in The Philadelphia University Collection,

it was edited for the first time in the  

November 1913 on Umelecky Mesicnik,Vol. I-III,

than in

1915 by Carl Einstein on Negerplastik,

and in  1920 by   Hall, H.U. on “Fetish Figures of Equatorial Africa.” The Museum Journal, Vol. XI, No. 1 (March).

1915 CARL EINSTEIN.jpg

The exact context of provenance  it’s unknown

(According the Ross Archive :Artiste Teke? W. Fagg; Hugana? E. Herold)

What is interesting for our researche it’s the

affinity

of the frontal posture of this sculpture with the more classical

‘namaste’

posture of  some of the  nepalese so called primitive figure. 

A similar iconographic element

within

very different stilistic traditions ,

plastic memory

of

the universal archetypes?

***

**

*

AFFINITIES IN THE WORLD OF THE TRIBAL ARTS AN ARCHETYPAL WEEKLY RESEARCHE 1

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 – 2016

***************************************

AFFINITIES IN THE WORLD OF THE TRIBAL ARTS

AN ARCHETYPAL

WEEKLY

RESEARCHE

1

 

1920.jpg

In the introduction to the catalog of 1984

‘Primitivism in 20th Century Art’,

William Rubin speaks of the influences 

and affinities between ‘primitivism’ and  ‘modernism’.

An interesting research.

In the catalog of Rubin,

obviously,

are not mentioned works from the Himalayan region,

paradoxically,

the first examples of these arts,

documented photographically by Tucci in the early  50’s,

began to appear on the market of Kathmandu 

just in the 80’s

 

7258145710_28b6dc8911_o.jpg

7258054434_68c61dfe0f_o.jpg

In 1984 the Museum of Modern Art celebrated with a big show the interconnection between primitive plastic art and modern and 

contemporary art.

 

In 1984 no one knew what it was for example an archaic figure  of the nepalese  Humla district.

 

I doubt few even today.

 

7258144326_d9451a166a_o.jpg

A correlation, an influence or affinity with the avant-gardist art world in Europe or,

and with the spread of modernism in North America is clearly not possible.

Two historical circumstances that contributed, however, to the knowledge of the arts of non-European cultures one century ago.

 

 

00cover.jpg

 

What I would try to document from today, is any similarity, affinity in style between the popular arts of the Himalayas regions and the most quoted and studied and celebrated the primitive arts.

Outside of a standardized iconography, the Himalayan objects appeared between 1980 and 2000 to show an originality that makes them often… 

unique.

The same thing had happened probably for the first Africans items arrived in Europe.

An example.

In 1906 appeared the so called Fang Derain mask in Paris, according Rubin a ‘strictly mediocre’ item, but with a quite realistic style, something that liked and contribuited to its rapid ‘assimilation and popularity’.

The item, by the way, was immediately replicated ‘en série’,  there is an half dozen of masks virtually identical with  the Vlaminck/Derain mask, the Museum of Fine Arts, Columbus, Ohio,mistakenly, published it’s example as ‘the’ original one…. another copy is in the colletion of the Ethografisch Museum in Antwerpen. 

That’s only an example, what is really important to outline is that while item like these mask were standardized as sale items, some element of the standardization entered, very probably, even in the items for cult purposes.

A sort of double influence, at the end.

For this reason I’ll try to find affinites only with items, that are reputated’sure’ and not ‘contaminated’ from a stilistic point of view.

I would like to start today with a very unusual Congo (?) figure

 

046.jpg

 

 The item was attested in the 1913 in the Brummer Collection,

Paris

than from 1921 in The Philadelphia University Collection,

it was edited for the first time in the  

November 1913 on Umelecky Mesicnik,Vol. I-III,

than in

1915 by Carl Einstein on Negerplastik,

and in  1920 by   Hall, H.U. on “Fetish Figures of Equatorial Africa.” The Museum Journal, Vol. XI, No. 1 (March).

 

1915 CARL EINSTEIN.jpg

The exact context of provenance  it’s unknown

(According the Ross Archive :Artiste Teke? W. Fagg; Hugana? E. Herold)

What is interesting for our researche it’s the

affinity

of the frontal posture of this sculpture with the more classical

‘namaste’

posture of  some of the  nepalese so called primitive figure. 

A similar iconographic element

within

very different stilistic traditions ,

plastic memory

of

the universal archetypes?

 

***

**

*