Review
The layout is particularly interesting because it intersperses dramatic color photographs with small black-and-white photographs and text about the art, the tribes and the traditions. Written by the former head of the tribal arts department at Sotheby's, the book is an excellent introduction to African art created before 1920. --
USA Today, Deirdre Donahue, 3 December 1998[A]nother seductive picture book, with one with a strong didactic intent....A handy reference indeed. --
Houston Chronicle, Patricia C. Johnson, 6 December 1998
Product Description
The marvelous achievements of black African artists are revealed and superbly portrayed in this book. The earliest pieces date from the beginning of the first millennium, the most recent from the early twentieth century before the commercial production of art for the tourist trade. All were made by Africans for their own use. It was European imperial expansionism in the nineteenth century that provided the background for public display of tribal objects in Berlin's Museum fr Vlkerkunde or Paris's Muse d'Ethnographie. The impetus provided by Braque and Picasso, Derain and Vlaminck focused new attention on the artistic value of the African achievement. In 1911 Paul Guillaume opened the first gallery in Paris concentrating on black African art; between the wars exhibitions in New York, Paris, and Antwerp helped to make African art fashionable. The end of colonialism, the search for roots, and ever-increasing research has continued to fuel the interest in an art whose full riches are now revealed. The brilliant young French expert, Jean-Baptiste Bacquart, has divided Africa south of the Sahara into forty-nine cultural areas. Each section studies the most important tribe within the area, surveying its social and political structures as well as its artistic production. The art is analyzed according to type--in most instances masks, statues, and everyday objects such as utensils, furniture, and jewelry. Where appropriate, further information on artistically related tribes is provided. Each section contains its own bibliography and--above all--both lavishly presented color photographs of all the major object types and documentary black-and-white illustrations. A detailed reference section, containing information on key collectors, collections open to the public, and a glossary, completes an invaluable publication that is unique in any language in presenting the entire range of black African art in accessible form.
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