African Masks in Pablo Picasso's Art - Essay Example

African Masks and Picasso African art has played a fundamental role in molding the culture and history of the whole world. The belief that Africa is the cradle for mankind is practically inflexible. The origins of African arts history dates back before recorded history in the obscurity of time. Generally, it is believed that African art established stability and harmony among its occupants. This in turn attracted early 20th century artistes for example Pablo Picasso who explored the new changes in visual art hence the birth of contemporary art (Cowling 34). This essay evaluates the similarities and differences between African masks and Picasso in relation to their composition, depiction and technique. The history of African masks dates back to before the Paleolithic era. A major and common feature used by the Africans to represent culture was through the use of masks in ceremonies, feasts and rituals. Furthermore, the traditional African masks exemplified heroes, ancestors, spirits, codes of conduct and animals. Usually, the raw materials used to make the masks include wood, pottery, textile, bronze and copper. The substitute details in the masks would be made using sea shells, egg shells, animal feathers, horns, hair and bones. Because of the belief that the masks represented the spirits, the makers were regarded as superiors in the village. Also, the art and talent of making masks was believed to be passed in the family hence was considered a part of inheritance. On the other hand, the history of African art by Pablo Picasso dates back to the 19th century during the colonization of Africa especially the North and West coasts by France. The scramble and partition of Africa prompted the expeditions and the travels of West elites in search of riches and adventures which resulted to the promotion African art. After painting Les Demoiselles d’Avignon, Picasso’s paintings were influenced by the two figures on the right side which basically were based on African art. Most of the African arts at that time were being interpreted to be signs of slavery, cannibalism, and mistreatment. Similarly, in the early 1900s, the aesthetics of traditional African masks and Picasso’s art became an important influence among the European Artists who later regrouped to build the contemporary art. Some of the involved artists included Henri Matisse and Pablo Picasso (Finley 26). To date the work of Matisse and Picasso continue to reflect the African aesthetics and arts. African masks are mostly shaped like a human face or an animal’s muzzle. Masks are highly decorated because African culture differentiates between the external look of something and its real interpretation. The most common animals represented by the masks include antelopes, buffaloes, hawk and hyenas. For instance antelopes were a sign of a good harvest. There is a similarity between the concept of symbolism in African masks and Picasso because both arts are a sign something. In addition, Picasso’s early paintings always included erotic and downright pornographic scenes. This blue period portrayed beggars and prostitutes and an extension of political convictions. Moreover, African masks are termed as a physical mechanism to produce change and transformation where the wearer takes on a new personality and identity. It is a dramatic tool that makes performers stand out from their day to day activities in societies. On the contrary, Picasso’s exhibition such as those found in Musee d’ Ethnographie du Trocadero presented African arts as curiosities or functional objects with no aesthetic value. European scholars and artists (Picasso) were reluctant to accept the art of Africa as fine art, instead they were viewed as primitive (O’Riley, 31). It was a general belief among the artists that African art was of a sub evolutionary group; the art of Africa and other non-European nations had prime elements, elements from which western art had evolved. The term primitivism as it applied to African art (non-classical art) was originally a positive one, although it contained bias terms outside the art world. It comes from the word primitif, a nineteenth century French word history word used in reference to certain late medieval and early Italian Renaissance and Flemish painters. Eventually the term was applied to African traditional art (O’Riley, 31). From the largest ethnic group within Mali, the Bambara art and stylistic variations of arts consist of extreme variations of arts, sculptures, and headdresses. A distinctive style of masking existed between these communities known as ‘Segou’ style which was recognizable by the typical flat faces, arrow shaped noses, all over body triangular scarifications and splayed hands. The most noble and sacred activities if the Bambara were related to agriculture (Pennisi,59) Both African art and Picasso work of art marks a transition and a turning point in the history of art. Picasso began the experimentation that would result into cubism as well as the African art that resulted into the symbolism of various cultural concepts. On a broader cultural level, Picasso takes the bits and bobs of cultural history and bends them to his will. Art in the west has always been about beauty even in scenes of war and despair hence Picasso rips and sheds the beauty of art in the cubism experiment. African art is deeply rooted and dependent on the magic of animistic religious rites. Curved wooden masks normally represent the faces of the gods who rule the tribesmen. In relation to Picasso’s art a fetish (curved figure) the African artist addresses the spirit that lives in it and has the belief that the spirit would protect him and the society. The great quality of African art was not appreciated, recognized or understood by the people of the west. African artists trained in European schools have returned and revised African sculptures in decoration for modern architecture. Some Nigerian wood carvers still make ritual masks but with designs and techniques that still reflect the modern African culture. Modern African artists have acquired a new form of realistic form of art for commercial uses. They make impressive curved heads and figures of woods, soapstone and metals that are mostly used by tourists and home decorators as souvenirs. In conclusion, African art is closer to modern art to more than it is to traditional forms because the African artists often seem to express ideas or emotions rather than to imitate reality. This is usually referred to as abstraction. An African mask or Picasso’s art is often used to express ideas. Work cited O’Riley, K. (2000) Culture Warrior. New York: Sage Publisher Pennisi, N. (1998) Picasso and Africa. How African art influenced Pablo Picasso and his work. 6(7)56-78 Finley, Carol. The Art of African Masks: Exploring Cultural Traditions. Minneapolis: Lerner Publications Co, 1999. Print. Cowling, Elizabeth, and Pablo Picasso. Picasso: Style and Meaning. London: Phaidon, 2002. Print. Read More