Curious about the influences of Tribal African Art on the outlook of our modern society? A series by Frank Peeters.

To many people, recycling means sorting and re-using objects and raw materials. But, considered on a larger scope, recycling also means re-using ideas and influences from the past and from other cultures. This is certainly the case in art when artists are inspired by predecessors and by other cultures. Be it conscious or not.

 

African art especially has had a great influence on the art of the 20th century. Which art lover ignores that Picasso was inspired by African masks. A nice example is the painting “Les demoiselles d’Avignon”. Artists such as Braque, Matisse, Vlaminck, Derain, Kirchner, Nolde were all influenced by the so-called primitive art and used her as a source of inspiration. Was it for exotic reasons, so much in vogue at that time, or were they attracted by the unconventional forms of non-western artifacts? Most probably both.  It surely was a reaction against ruling academics. Rebelling against the establishment has always guided artists and non western art was an excellent source to salvage that need.

 

But why so specifically African art?

After the academism of the 19th century and the aestheticism of art forms influenced by mainly eastern art (impressionism, art nouveau, symbolism) artists were looking for rougher forms of expression, less aesthetic and this was found in primitive objects. Which artifacts responded more to this search than African objects. Objects indeed because many people didn’t qualify African masks and figures to be art objects. They were not aesthetic enough, too primitive and made for practical purpose (e.g. initiation rites, jurisprudence, witchcraft,) they were lacking the refinement of especially western art, where the prevailing trend used to be “art for art” and it was against this refinement, against the established art canons, that young artists were revolting.

 

The rough force of expression of African artifacts, the simple forms, the accentuation of certain parts of the body parts, the disruption of the human body, the not so prudish appearance of the statues. This new anatomy fascinated them and they included it their art. As a matter of fact, this abnormal dimension of art would later on be condemned by authoritarian regimes which would only promote and accept stereotype, ideological art. Marxist and fascist regimes are a typical example of this. Primitive art and western art that was influenced by it was perverted and had to disappear! In a totalitarian regime any form of freedom is dangerous, also artistic freedom. But this dark period in the history of art could not stop the influence of non-western art and especially African art.

Not only painters and sculptors found their inspiration in Africa as the same thing can be said about modern music such as Jazz, R&B, pop, hip hop. This is also the case for the applied arts : e.g. interior design where African forms and colors are integrated into the look of our homes. And in the fashion world too couturiers make use of African influences. Today nobody is shocked anymore by the “africanization” of western art and of our lives!

 

There is however a paradox: modern artists found in the forms of African art a power of renewal while the freedom of artistic creation in classic African artifacts was very limited. Masks and figures responded to strict forms and norms proper to each tribe or ethnic group. The maker had little freedom of expression.

 

Today, the social, political and religious context which was so determinative for African artifacts is also changing in Africa and more western inspired art forms are appearing. Regions formerly influenced by African art are now influencing African artists! Recycling in both direction!

 

Once primitive, African art is now fully recognized and this is amongst other reasons thanks to modern western art, which was influenced by it. One can state that one also influences ones predecessors.

 

 

 

We all have a creative streak within us, so go ahead and explore that inner artist of yours.

 

The website to the museum offers some fun interactive fun, so why not create your own artwork. Here is what we recommend you to do:

 

 

 

 

 

My first visit to Japan took place more than 10 years ago. I arrived in Tokyo, went to Kamakura, travelled to Shinjuko and climbed the mount Fuji. I attended a tea ceremony, took an outdoors sulpher bath in the pouring rain and returned to the European homeland with a kimono and a wooden SHINTO temple that I picked up at a flee market.

 

Despite the fact that millions of people populate the Japanese capital, a feeling of peacefulness and harmony was omnipresent.

 

This same feeling can also be obtained at the unique Japan society, situated near the United Nations, where a wealth of activities are offered to the cultural savy. This society was founded in 2007 by prominent New York city business people and philanthropists and has evolved into an internationally recognized nonprofit organization presenting a full range of programs within arts and culture, business, education, family and public policy.

 

The society creates rich encounters and offers the New York community more than 100 events on a yearly basis. Its centennial was celebrated last year and I still remember my visit to the AWAKENINGS exhibition, featuring ZEN figure painting in Medieval Japan.

 

This spring, it might be interesting to make a detour and enjoy the exhibition that celebrates the Genius of Japanese Lacquer as the masterworks Shibata Zeshin are on display.

 

A must see.