French African Art Exhibitions (1928-1956): Dictionary of Artists and Their Works. Les Cahiers du Centre François-Georges Pariset No. 12 - Special Edition.
Bordeaux University Press| N° d'inventaire | 31124 |
| Format | 16 x 21 |
| Détails | 384 p., 34 fig. outside the text, paperback. |
| Publication | Bordeaux, 2024 |
| Etat | Nine |
| ISBN | 9791030010671 |
The Notebooks of the François-Georges Pariset Center No. 12 - Special Edition.
The French African Art Exhibitions remain little-known cultural events. Conceived at the initiative of the Algerian government and the Tunisian and Moroccan residencies, they were organized under the leadership of figures active in these colonial art scenes. Taking place for nearly thirty years, primarily in North Africa, they brought together artists active on the ground. Many were metropolitan French citizens passing through or having chosen to settle permanently. Also featured were men and women from settler or indigenous families, Arabs, Berbers, or Jews. While some artists—such as winners of metropolitan prizes or travel grants—are enjoying rediscovery in the past and today, most have little reputation. Some are part of an art history linked to their country of origin. This historical prism sheds new light on the organizers' desire to engage in propaganda – political and touristic – while promoting an art that would be "authentically" African, produced by colonial artists or not, following the process of colonization. The fine arts, through their supposed modernity, embody the specificity of an enterprise that does not neglect a more traditional dimension embodied in the decorative arts, or even in what was called "indigenous art."
The Notebooks of the François-Georges Pariset Center No. 12 - Special Edition.
The French African Art Exhibitions remain little-known cultural events. Conceived at the initiative of the Algerian government and the Tunisian and Moroccan residencies, they were organized under the leadership of figures active in these colonial art scenes. Taking place for nearly thirty years, primarily in North Africa, they brought together artists active on the ground. Many were metropolitan French citizens passing through or having chosen to settle permanently. Also featured were men and women from settler or indigenous families, Arabs, Berbers, or Jews. While some artists—such as winners of metropolitan prizes or travel grants—are enjoying rediscovery in the past and today, most have little reputation. Some are part of an art history linked to their country of origin. This historical prism sheds new light on the organizers' desire to engage in propaganda – political and touristic – while promoting an art that would be "authentically" African, produced by colonial artists or not, following the process of colonization. The fine arts, through their supposed modernity, embody the specificity of an enterprise that does not neglect a more traditional dimension embodied in the decorative arts, or even in what was called "indigenous art."