Null [COLLECTIVE - AFRICAN ART].

Dogon Statuary.

Leloup Hélène, Rubin William,…
Description

[COLLECTIVE - AFRICAN ART]. Dogon Statuary. Leloup Hélène, Rubin William, Serra Richard and Baselitz Georg. Photographs Roger Asselberghs and Jerry L. Thompson. Published with the assistance of the Centre National du Livre, Daniel Amez Éditeur. Fort in-4, bound in black cloth and illustrated dust jacket.

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[COLLECTIVE - AFRICAN ART]. Dogon Statuary. Leloup Hélène, Rubin William, Serra Richard and Baselitz Georg. Photographs Roger Asselberghs and Jerry L. Thompson. Published with the assistance of the Centre National du Livre, Daniel Amez Éditeur. Fort in-4, bound in black cloth and illustrated dust jacket.

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A female statuette from a Bombou-toro workshop Wearing a labret at the base of her hyperstylized face, and a hairstyle forming a crest in a braided plait falling to the back, the look and presence of this ingeniously modern Dogon statuette are unmistakable. In keeping with the hieratic and highly synthetic styles of Bombou-toro, this previously unseen ancient Dogon sculpture, from the former collection of René Rasmussen, completes a corpus of rare statuettes from a workshop that initiated a style with highly distinctive characteristics. The most extraordinary of this corpus is undoubtedly the maternity piece from the former Charles B. Benenson collection, which he donated to the museum. Benenson's collection, which he donated to the Yale University Museum. The cylinder-shaped knees are among the most emblematic details of this workshop. According to Hélène Leloup, these knee protuberances refer to the founding myth that "the first human creatures had limbs without joints and were formed when the blacksmith, descending from heaven, had his arms and legs broken by the anvil, enabling men to work", and symbolize the magical duge stones. "The duges are placed on the joints because this is the most important part of man." (Griaule). Compared to the statuette in the C. Benenson collection, we find beyond the same almost "robotic" or "cubist" position, with the angle of the elbow still insisting on the articulation, and the arms folded forward, as well as the nose sculpted as an arrow, a stylization of the feet (and the ankle joint) in a triangle that covers the entire side of the base. The treatment of the shoulder blades is comparable, and further emphasizes the importance of the main joints, so there's no doubt that this is narrative art. Viewed from the side, the treatment of the legs and buttocks of the statuettes in the Jean Roudillon and Benenson collections is equally supple. The patina of the Jean Roudillon statuette does not ooze like that of the C. Benenson collection. Benenson collection, but it nevertheless bears witness to an obvious and superb age. Dogon, Mali Wood, very fine erosion and old cracks, superb old patina. H. 37.5 cm See p. 130 n° 56 for the statuette from the Benenson collection in Close up-Lessons in the Art of Seeing African Sculpture from an American collection and the Horstmann collection, Vogel and Thompson, Ed. The Center for African Art New York 1990 See for another bombou toro statue and comments no. 78 in: Statuaire Dogon, Hélène Leloup, Ed. Hamez 1994 Provenance : - René Rasmussen Collection - Jean Roudillon Collection