African Sculpture

Abstract

At first sight this sub-title may appear somewhat paradoxical, for what could be in greater contrast than the things denoted by the words ‘primitive’ and ‘European’? On the one hand, civilization with its highly developed technical methods in everything practical and theoretical, on the other, the world of simplicity in all practical activities. There—a mighty movement of expansion, irresistibly drawing into its sphere of influence all primitive life, to transform or destroy it, and in either case to make what remains of the primitive peoples and their countries do it service; here—vain resistance against the superior strength of the European, or the doubtful attempt to conform to European ideals. In the face of successful colonization by the cultured races of Europe, the last thing to be expected was any influence on Europe by the primitive peoples. Nevertheless, such an influence certainly exists, and that in the realm of art. After the period of realistic Impressionism in the last decades of the nineteenth century, a strong movement flowed through the art world of Europe, finding its most permanent expression as Futurism in Italy, Cubism in France, and Expressionism in Germany. This movement in Germany, in opposition to Realism, made it one of its principles to observe and express not the external but the interior world, while in France the desire for bold drawing of a decorative character prevailed. Both tendencies culminated in an art movement which felt for the primitive works of art a sympathy due to a sense of relationship: the Cubist appreciated their inherent architectural character, and the Expressionists the mystic emotional content.