Motivations for studying and collecting tribal, native, ritual, ethnic, ethnographic, classical, traditional, old, antique, "primitive" art objects from black Africa:

  • to appreciate these artefacts as superior forms of strong, superb aesthetic expression and craftsmanship
  • the simple, minimalist, symmetric style of many objects is attractive
  • the ethnographic / ethnological / ethno-historical / art historical interest; as a catalyst for pursuing knowledge of the collected objects:
    their original cultural contexts (that is their ethnic origin);
    cross-"tribal" influences;
    their material components;
    methods of production…
  • for decorative purposes
  • their investment potential ("appreciation")
  • the mystery and power evoked by exotic objects in an environment that is far away from the environment in which they were created (both geographically speaking as well as culturally)
  • the symbolic and ceremonial meanings of the artefacts
  • the sensation of being confronted with objects of a certain apparent age (as evidenced by wear, erosion, patina, etc.)
  • to preserve artefacts originating from traditional cultures
  • the pleasure of researching and determining the degree of authenticity of artefacts
  • the thrill of treasure hunting
  • as a medium that stimulates interest in like-minded individuals who share the same interest,
    like the famous scientist Prigogine, and many famous artists, including
    • Apollinaire
    • Arman
    • Georg Baselitz
    • Constantin Brancusi
    • Georges Braque
    • Andre Breton
    • Giacometti
    • Guillaume Corneille
    • José de Guimarães
    • Derain
    • Max Ernst
    • Helen Frankenthaler
    • Chaim Gross
    • Elsworth Kelly
    • Paul Klee
    • Fritz Koenig
    • Alberto Magnelli
    • Henri Matisse
    • Willy Mestach
    • Permeke
    • Picasso
    • Man Ray
    • Richard Serra
    • Frank Stella
    • Vlaminck
    • Andy Warhol
    • ...
      cfr. the book:
      Author: William Rubin; Richard E. Oldenburg; Kirk Varnedoe
      Title: Primitivism in 20th Century Art: Affinity of the Tribal and the Modern (2 vols.)
      Publisher: New York: Museum of Modern Art
      Date published: 1984

This document was updated most recently 2012-06

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Keywords in other languages for this page:

Afrika, Afrikaans, Afrikaanse, antropologie, antropologisch, beeld, beelden, beeldhouwkunst, beeldhouwwerk, beeldhouwwerken, boek, boeken, caoline, clan, clans, Congo, Congolees, etnisch, etnische, ethnisch, etnische, etnografie, etnografisch, etnografische, ethnografie, ethnografisch, ethnografische, hoed, hoeden, hout, houten, houtsnijwerk, kleur, kleuren, Kongo, kunst, kunsten, kunstenaar, kunstenaars, masker, maskers, neger, negers, negerkunst, pigment, pigmenten, pluim, pluimen, pop, poppen, primitief, primitieve, raffia, rafia, sculptuur, sculpturen, speelgoed, stam, stammen, tekstiel, textiel, totem, totems, tribaal, veer, veiling, veilingen, veren, verf, geverfd, vezels, vruchtbaarheid, zaire

Africaines, Afrique, art premier, arts premiers, congolais, congolaise, fecondite, fetiche, fibres, geometrie, grenier, livre, livre, metiers, masque, masques, negre, negres, patine, poupee, poupees, robe, style brut, teintures, tribale,

Afrikanisch, Afrikanische kunst, Holzplastik, Schwarzafrika

bambola della fertilità, caolino, conchiglie, femminile, legno, maschera, metallo, patina, pelo, pigmenti, perline, fibre vegetali, piume, statua

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