By Ladislas Segy
163 full-page plates Illustrating mask, fertility figures, ceremonial items, etc., of fifty West and vital African tribes—95% by no means ahead of illustrated. 34-page creation to African sculpture.
«Mr. Segy is one in all its best authorities,» New Yorker.
164 full-page photographic plates.
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Publish 12 months word: First released October 1st 1970 via Da Capo
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Additional info for African Sculpture
Psychological dependence upon the carving is Because the very deep, and, indeed, inspired the carving, the forms used by the "artist" are imbued with deeply felt emotion. Expression, on the other hand, is the actual infusion of this religio-magical faith into the piece of sculpture itself. Here the talent of the individual artist, a long cultural tradian instinctive feeling for forms and materials all interplay, and the result may be a high quality work of art which tion, can stand by itself without a cultural background.
Expression, on the other hand, is the actual infusion of this religio-magical faith into the piece of sculpture itself. Here the talent of the individual artist, a long cultural tradian instinctive feeling for forms and materials all interplay, and the result may be a high quality work of art which tion, can stand by itself without a cultural background. These two basic elements were fused in African art, and the African was able to express his deeply felt emotional experience in a fully coordinated and disciplined Western man, on the other hand, is able to feel manner.
Plate 153, a the same principle. Here, however, the interplay of angularity and roundness is markedly strengthened by the shape of the chin and the form of the legs. Both this statue and the Azande statue are obviously phallic. The Ouobe-Guere mask from the Ivory Coast (Plate 30) is very boldly constructed. It consists of three large masses: forehead, nose, and mouth. The upper parts of all three are round, but each is bisected by a straight line, which forms great dramatic contrast between curves and straight lines.