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In the late 19th and early 20th centuries, artists working for the royal court of Bamum, in Cameroon, created elaborate bead-covered thrones and stools, wooden sculptures, masks in human and animal form, architectural carvings, and fine objects in bronze, ivory, and clay. This book focuses on the history, iconography, and meaning of these royal arts and looks at Western collectors who were fascinated by King Ibrahim Njoya (ruled 1886/7 to 1931) and the splendor of the royal court. Visual and written sources--including testimony by King Njoya and his courtiers, and extensive archival records--cast light on the strategies of a monarch who allowed visitors to acquire these arts to enhance the kingdom's reputation in distant Europe. The history of Bamum arts thus offers unique perspectives on African creativity and ingenuity, and European ways of collecting.
Art of the Cameroon Grasslands unveils the artistic creativity of a region of West Africa through the Weis Collection. With texts by Peter Weis and Bettina von Lintig, and a contribution by Michael Oehrl, the book is a comprehensive overview of Grasslands Art. In contrast to many other African regions, the works of the artists of the ethnic groups that live in the Grasslands are characterized by enormous diversity, dynamism, movement, asymmetry, power, and even unbridled wildness. Other works radiate tranquillity, offering the viewer uncommon visual pleasure and delight. For centuries, kingdoms and rulers in this region competed with each other to create new works of art or perfect inherited styles. These works served cultural, profane, and representational purposes, and they reflected the social and ruling structures of the Grasslands--aspects that the book's essays and descriptions go into in detail. A broad spectrum of objects and their uses are reflected in the Weis Collection. It includes everyday objects, works of folk art, ritual, and cult objects such as magic or commemorative figures, masks, posts, palace doors, representational objects, musical instruments, tobacco pipes, and drinking horns. The introduction presents important aspects of the cultural and artistic development of each object's region of origin, also in the context of European colonization. All are illustrated with numerous field photographs. This is followed by an essay on beaded artworks from the Grasslands, a subject that has been little researched to date. As the Grasslands are embedded in a larger cultural area, objects in the collection from neighboring ethnic groups are also presented, in many cases shedding light on centuries-old connections and artistic exchanges.
Surveys the history, culture, and contemporary life of the Luba people of Zaire.
New York's now-defunct Museum of Primitive Art opened its landmark exhibition Senufo: Sculpture from West Africa in February 1963. Under the directorship of art historian Robert Goldwater, the museum displayed together for the first time a stunning array of arts attributed to Senufo artists: face masks, helmet masks, and figurative sculptures, all from a region spanning the borders of present-day Burkina Faso, Ivory Coast, and Mali. Now, more than 50 years later, this new book draws on archival, museum, and field-based data, including previously unpublished letters, photographs, and objects, to look back at that tour-de-force exhibition, and offers a fresh, expanded view of a dynamic region's arts and identities.
Charts the development of modern Nigerian art, analyzing the achievements of leading artists while exploring arts movements within and surrounding the country throughout the past century, in a volume that includes coverage of the works of Olowere and Uche Okeke.
Catalog of an African-owned collection of African artworks, including sculpture of Yoruba, Igbo, Urhobo, Cross River, Benin, and Benue River Valley origins.
General Adult. Focuses on the aesthetic qualities of the masterpieces of Bamana religious art in Mali. This book emphasises on pieces used in rites of passage, agricultural cooperatives and passage, and agricultural cooperatives.
Igbo art is famous for its diversity, inventiveness, and aesthetic quality. This wide-ranging survey of art made by the 15 to 20 million Igbo people of southeastern Nigeria focuses on the 20th century but also takes a look at the extraordinary 9th- and 10th-century bce cast copper alloy and ceramic finds that influenced Igbo artworks created 20 centuries later. Ceremonial contexts and meanings are explained, covering art associated with individuals as well as communal works and ranging from personal decoration to architectural forms, from household objects to cult sculpture, title regalia, and public shrines. Many little-known objects are included alongside a generous sampling of the thousands of masks that are perhaps the quintessential forms of Igbo art.
Lavish illustrations feature both iconic and never-before-published Pende masterworks, selected to