The African diaspora (African cultural influences around the world) has been a major topic through this course. Discuss the significance of this topic based on three examples from the following chapter. Demonstrate that you have a co
ect and detailed understanding of the historical, cultural, and stylistic importance cultural cross artistic influences on the artwork. Write only 7 paragraphs.
Chapter 16
Art of the African Diaspora in the Americas
Artist Edmonia Lewis was born to a 16.6, Edmonia Lewis, Hagar, Chippewa indigenous mother and an
African –American father. 1875
Where did the artist create this statue? *At her studio in ROME!
During the 1860s, she traveled to Europe, specifically, England, France, and Italy.
Her patrons were primarily caucasian *abolitionists. (people who were against slavery)
Why is the timing of this sculpture significant? 1875 = post Civil War + a period of “Reconstruction” in the Southern U.S. + on-going discriminatory practices
utality against marginalized ethnicities
Why did the artist choose the subject of Hagar? Refer to page 521!
Is this a “Traditional African” statue? Edmonia Lewis was a “Neoclassical” sculptor, which also explains why she settled in Rome in about 1866. This style grew out of Italy, then spread to France, and other parts of Europe, as well as the U.S.! Neo-classical refers to a revival of Greco-Roman or Classical form and aesthetics that resurfaced in the latter part of the 18th century.
Even though this style of art developed in the latter part of the 18th century, due to the time of her life and style of art, she is placed in this category.
Why is this a “Neo-classical statue”?
*She is standing in “contrapposto.” Her weight is shifted to one leg.
*She has idealized “Classical features.”
*She is wearing “Classical” like draperies/clothing.
*The statue like the majority of Classical/Neo – classical statues is made of ma
le.
EDMONIA LEWIS,
Forever Free,
1867, Ma
le
Click on the link below.5
https:
npg.si.edu/object/npg_NPG.
94.95
ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Ma
le, Galleria Borghese, Rome.6
Neo-classical sculpture
16.7, Henry O. Tanner, The Banjo Lesson, 1893
Henry O. Tanner became the most recognized African-American male painter during this life-time.
Most of his paintings address the socio-economic challenges of African-American life in the southern U.S, specifically post the Civil War (1861 – 1865) OR were inspired by Biblical subjects.
Even though he experienced, rampant racism, he attended one of the oldest and most prestigious art schools in the country, The Pennsylvania Academy of the Fine Arts and was taught by one of the most famous American painters of the 19th century Thomas Eakins.
Like his drawing teacher Thomas Eakins, Henry O. Tanner was heavily influenced by photography, which had been invented in France around 1840.
Furthermore, Henry like many of the most famous modern, American artists traveled to Paris, which had become the art capital of the world in the 19th century!
Henry traveled to Paris during the early 1870s, when an “avant- garde” –against the mainstream, anti-convention, antiacademy, style of painting was blossoming known as “ Impressionism.” Impressionists were fascinated with capturing fleeting moments in time, the harmonies of light and color merging and optics. Even though Tanner is a “Realist” painter. This background shows an Impressionist influence.
In this painting, we can take note of the visual na
ative of a grandfather teaching his grandson how to play the banjo. We have the traditional African theme of knowledge and traditions being passed down ve
ally from one generation to the next.
Moreover, the banjo “mbanza” originates from Central Africa and via slavery, was transported to the Cari
ean, and eventually the U.S. , where it became associated with folk music.
HENRY OSSAWA TANNER, The Thankful Poor, 1894. Oil on canvas
Examples of Impressionism
“Impressionism” as Modern art
(1874 – 1886) Exhibitions in Paris
· Impressionism as “avant- garde”
· Subjects included:
-Painting scenes of nature (outdoors) “en plein air”
-sensations of light and color, impermanence, and the
“fleeting moments of time”
- Scenes of everyday life with references to rapid social changes due to *u
anization and *industrialization
“fleeting moments of time”
-Leisure and pleasure of the middle and upper middle classes in France
Claude Monet, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.
Claude Monet, Saint-Lazare Train Station, 1877. Oil on canvas, 2’ 5 3/4” x 3’ 5”. Musée d’Orsay, Paris.
Camille Pissa
o, La Place du Théâtre Français, 1898. Oil on canvas, 2’ 4 1/2” x 3’ 1/2”. Los Angeles County Museum of Art
10
10
10
Modernism
“Modernism”/Modern art began in Europe in the early 1800s and eventually spread to the U.S.
*There are many different styles and movements within Modernism and “Modern art” lasted until about the mid1960s.
*Overall, Modern artists disdained conformity to the subjects, styles, conventions, and aesthetics of the Classical and traditional Western art of the past. Hence the term “avantgarde.”
*They rejected “rationality” and em
aced a “Return to the Primal,” a return to feelings, emotions, instincts, etc.
Pablo Picasso, The Young Ladies of Avignon, 1907
http:
www.moma.org/col
lection/object.php?object
_id=79766
This Modern “Cubist” painting (A fragmentation of form and space) was a radical rebellion against the coveted
Classical/Idealized subject of “the female nude” (The goddess, muse or nymph) and a defiant reversal of gender roles with the “in your face” powerful attitudes of the 2 central unidealized nudes.
Picasso was an avid collector of both African masks and sculptures!
For this Modern artist, African art was a “Return to the Primal” a return to feelings, emotions, instincts.
Furthermore, he considered African art to be visually powerful in its abstraction and was “untainted” by Western ideas and values.
These African masks also for
Picasso reveal a questioning of “Who are we” in this rapidly changing, industrialized, and war stricken world?
16.11, Wilfredo Lam, The Jungle, 1943
Chinese Father & Congolese Mother (Central Africa)
http:
www.moma.org/co llection/object.php?objec t_id=34666
Santeria, an African religion that developed in Cuba as a result of Yoruba mythology combined with Catholicism is referenced here. In Santeria, the moon is the wife of the sun and is symbolic of new ritual activity. Notice the ½ moon shapes.
Lam who grew up in Cuba has created a hy
id dream/fantasy world where, human, animal, and natural forms are intertwined and layered. Su
ealists rejected “rationality” and sought a “Return to the Primal” through dreams, fantasy, and imagination. Su
ealism began in Paris in the early 1920s , spread to different parts of Europe including the U.S. and lasted until the mid – 1940s.
Note:The fragmentation of form and space is a Cubist influence from Picasso.
Article:
“African Influences in Modern art”
From the Metropolitan Museum of Art
http:
www.metmuseum.org/toah/hd/ aima/hd_aima.htm
16.14, Romare Bearden,The Prevalence of Ritual: Baptism, 1964
This “photomontage collage” is made up of mostly cut out photographs.
The timing of this artwork is very important because it was made during the Civil Rights Movement led by AfricanAmericans in the United States.
Themes such as the role of the church in African - American communities, segregation in Southern states and the migration of people to Northeastern states for better economic and social opportunities indicated by the train and train tracks, as well as the sense of people moving all connect together in the collage.
*The artist never traveled to Africa, but seems to be making historical and cultural references to the continent by including images of African masks.
*Click on the link below to learn amore about his life and artwork. https:
www.pbs.org/video/thirteenspecials-romare-bearden-the-dove-1964
16.20, Howardena Pindell,
Autobiography: Water, Ancestors,
Middle Passage, Family Ghosts, 1988
Click on the link below about the artist’s life and her artwork.
https:
www.youtube.com/watch?v=7TI
OXNCnA-Q
16.28, Renee Stout, Fetish No. 2, 1988
Self-Portrait of the artist as an “nkisi nkondi” figure. (Refer to Image 21.)
Nkisi nkondi figures are used by healers (nganga) in the Congo for their clients. Several nails are driven through the wood to activate the scupture’s power!
The cavity in the center of the body contains medicine or other substances/ objects that are believed to heal the person in need. The artist has appropriated (bo
owed) this concept from an African source, just as Picasso appropriated the use of African masks in his painting “The Young Ladies of
Avignon.”
Compare with N’kisi N’kondi figure from the Congo
16.28, Renee Stout, Fetish No. 2, 1988
This sculpture is a “conceptual” artwork – why?
The artwork is a self-portrait, a nkisi nkondi, figure and makes conceptual references to herself as the creator of the object , as well as the patron of the sculpture.
Conceptually, it is
illiant! I will add here that the majority of contemporary artists regardless of where they are from and regardless of the media, create conceptually based artwork. Essentially, conceptually based artists & architects are more concerned with the “idea” or the process of creating the artwork/architecture than the final result.