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En réunissant plus de 200 oeuvres d’art exceptionnelles – pour la plupart jamais présentées au public – provenant de grandes collections privées et publiques européennes, le musée d’Aquitaine à Bordeaux propose, à travers l’exposition Arts d’Afrique, voir l’invisible du 21 mars 2011 au 21 août 2011, une lecture originale de la création africaine. Son rapport à l’invisible, révélateur d’une vision du monde singulière, est indispensable pour comprendre et découvrir les richesses passées et présentes des cultures du continent africain. Un premier espace couvre les principales aires culturelles de production des masques. Il présente des ensembles complets de masques avec costumes exceptionnels. Le deuxième espace évoque la spécificité de la statuaire africaine également perçue comme agent de communicatio avec l’invisible qui se manifeste entre autres au travers de rituels de protection ou de guérison; Le dernier espace traite de différents accessoires (boîtes,paniers, plateaux, figurines, cloches, talismans, agrégats...)qui, entre les mains des praticiens, permettent le contact avec l’invisible et restent des instruments énigmatiques. L’authenticité, la représentativité et le caractère inédit des oeuvres ont guidé le choix des objets provenant de musées français et européens (Quai Branly, Tervuren, Neuchâtel, Dapper) et de collectionneurs privés qui ont consenti des prêts exceptionnels au musée d’Aquitaine.
The seventy-five masterpieces presented here, drawn from public and private American collections, are among the most celebrated icons of African art, works that are superb artistic creations as well as expressions of a society's most profound conceptions about its beginnings. All are reproduced in color and are accompanied by entries that illuminate the distinctive cultural contexts that inspired their creation and informed their appreciation."--BOOK JACKET.
"Many masterpieces of central African sculpture were created to amplify the power of sacred relics that affirm a family's vital connection to its ancestral heritage. This important volume, focusing on some 130 works representing a diverse variety of regional genres, illuminates the purpose and significance of these icons of African art, which first came to prominence because of their appeal to the Western avant-garde. While providing an overview of sources ranging from colonial explorers, missionaries, critics, artists, and art historians, the book breaks new ground in its examination of the complex aesthetic and spiritual dimensions of the reliquaries. Its interdisciplinary approach brings together the perspectives of scholars in African and medieval art history along with those in African history, religion, and ethnography." -- Publisher.
Together, the Royal Museum for Central Africa in Tervuren, Belgium, and the Institut des Musées Nationaux du Zaire (IMNZ) in the Congo have defined and marketed Congolese art and culture. In Authentically African, Sarah Van Beurden traces the relationship between the possession, definition, and display of art and the construction of cultural authenticity and political legitimacy from the late colonial until the postcolonial era. Her study of the interconnected histories of these two institutions is the first history of an art museum in Africa, and the only work of its kind in English. Drawing on Flemish-language sources other scholars have been unable to access, Van Beurden illuminates the politics of museum collections, showing how the IMNZ became a showpiece in Mobutu’s effort to revive “authentic” African culture. She reconstructs debates between Belgian and Congolese museum professionals, revealing how the dynamics of decolonization played out in the fields of the museum and international heritage conservation. Finally, she casts light on the art market, showing how the traveling displays put on by the IMNZ helped intensify collectors’ interest and generate an international market for Congolese art. The book contributes to the fields of history, art history, museum studies, and anthropology and challenges existing narratives of Congo’s decolonization. It tells a new history of decolonization as a struggle over cultural categories, the possession of cultural heritage, and the right to define and represent cultural identities.
This is the first full-length study in English of Michel Leiris's work. Frequently cited as a central figure in contemporary French culture, Leiris was an outstanding writer whose double career as ethnographer and creative writer places him at important points of intersection within French cultural history. Seán Hand explores Leiris's active participation in some of the most striking intellectual and artistic movements of the twentieth century: surrealism in the twenties, ethnography in the thirties and existentialism in the forties. Hand locates his writing in these different contexts in relation to the major artistic, political and philosophical concepts of the period. He goes on to argue that Leiris's multi-volume autobiography La Règle du jeu stands as the model form of self-enquiry in the twentieth century. More broadly, Hand explores Leiris's continuing obsession with the notion of 'presence'. Informed by recent critical theories, Hand offers a multi disciplinary approach to this intriguing writer.
Volume IV deals with the 'Middle Ages'. It starts with the expansion of Islam and closes with the discovery of the New World. Various events during this period led to a significant expansion in communications: the rapid spread of Islam and of Gengis Khan's Mongol Empire, as well as the Crusades and the development of trans-Saharan and maritime routes around Africa to the Indian Ocean, leading to multiplied exchanges between the peoples and cultures of Africa, Asia and Europe.
"A pioneering work in the field of art history, The Image of the Black in Western Art is a comprehensive series of ten books which offers a lavishly illustrated history of the representations of people of African descent from antiquity to the present. Each book includes a series of essays by some of the most distinguished names in art history. Ranging from images of Pharaohs created by unknown hands almost 3,500 years ago to the works of the great masters of European and American art such as Bosch, Dürer, Mantegna, Rembrandt, Rubens, Watteau, Hogarth, Copley, and Goya to stunning new media creations by contemporary black artists, these books are generously illustrated with beautiful, moving, and often little-known images of black people. Black figures-queens and slaves, saints and soldiers, priests and prisoners, dancers and athletes, children and gods-are central to the visual imagination of Western civilization. Written in accessible language, the extensive and insightful commentaries on the illustrations by distinguished art historians make this series invaluable for the general reader and the specialist alike."--Résumé de l'éditeur.