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Fauve Masks: Rethinking Modern 'Primitivist' Uses Of African And Oceanic Art, 1905-8, Joshua I. Cohen
Fauve Masks: Rethinking Modern 'Primitivist' Uses Of African And Oceanic Art, 1905-8, Joshua I. Cohen
Publications and Research
Fauve painters “discovered” African and Oceanic sculpture beginning in 1905. From that time, Vlaminck first collected African art; Derain studied Oceanic works at the British Museum in spring 1906; and Matisse struggled to paint a Kongo-Vili statuette he purchased in fall 1906. Fauve interests in shallow-relief, relatively naturalistic, and surface-ornamented sculptural works suggest conformity with turn-of-the-century artistic and scientific ideas conflating heterogeneous strains of so-called “primitive” material culture. Nevertheless, the dominant conceptual framework of “primitivism” has tended to limit art-historical understandings of external formal influences on modernism, which can be gleaned here by investigating the particular objects the Fauves appropriated.
A Research Note: Race, Slavery, And The Ambiguity Of Corporate Consciousness, Herman L. Bennett
A Research Note: Race, Slavery, And The Ambiguity Of Corporate Consciousness, Herman L. Bennett
Publications and Research
In 1769, as he languished in Córdoba's prison, Diego Antonio Macute seethed. He was not alone. Fifteen of his compatriots shared his sentiments as they confronted their re-enslavement. Recent events painfully reminded them that racial consciousness had limits: their maroon allies, after all, had returned them to their former masters.