Ben Enwonwu

Acquired directly from the artist, Lagos, 1959

Thence by descent to the current owner

Ben Enwonwu’s Nigerian Beauty (1959) is a masterful work by one of Africa’s most renowned modernist painters, capturing both the individual grace of its sitter and the broader, metaphorical significance of a nation on the verge of independence. Painted just a year before Nigeria gained independence from British colonial rule in 1960, this piece carries not only aesthetic value but also deep socio-political meaning. The year 1959 marked a period of fervent optimism and anticipation in Nigeria, a country poised to assert its sovereignty and cultural identity. Nigerian Beauty represents an era of great transformation, both for the subject of the painting and for the country that the title so subtly alludes to.

Ben Enwonwu (1917–1994) was a towering figure in the Nigerian and African art world. A pioneer of modern African art, Enwonwu merged Western techniques with traditional African forms, creating a unique artistic language that communicated both his cultural heritage and his experiences of global modernism. Born into a family of artists, Enwonwu was exposed to traditional Nigerian art from an early age, and his formal education included studies at the Slade School of Fine Art in London. His art transcended cultural boundaries, gaining recognition both in Nigeria and internationally. As Nigeria moved toward independence, Enwonwu became increasingly involved in cultural diplomacy, using his artistic talents to shape the identity of the new nation.

Enwonwu's involvement in nation-building was significant. He served as a cultural ambassador and produced numerous works that reflected the pride and optimism of a newly independent Nigeria. His art became a symbol of the country's emerging identity, blending the traditional with the modern to reflect a progressive vision of what Nigeria could become. In this regard, Nigerian Beauty takes on dual importance—it is both a celebration of the individual and a metaphor for the country itself. The young woman in the painting, like Nigeria, is portrayed as beautiful, confident, and modern. She embodies the hopes and aspirations of a young nation ready to define its own future.

The title Nigerian Beauty carries layers of meaning. On the surface, it refers to the physical beauty of the sitter, a young woman wearing in a sleeveless indigo blue dress with a gold necklace and hair adornments. However, the title can also be interpreted as a metaphor for Nigeria itself, newly emerging as a sovereign state. The sitter’s serene expression and poised demeanour reflect the confidence and optimism of a country on the cusp of independence. Enwonwu’s choice of a modern, natural hairstyle for the woman, along with her simple yet elegant dress, underscores a conscious break from colonial-era depictions of African women. The sitter is not adorned in traditional garb, nor is she portrayed in a manner that exoticises her African identity. Instead, she is presented as a modern Nigerian woman, confident in her individuality and the future she represents. This aligns with the broader mood of the time, when the youth of Nigeria were at the forefront of the independence movement, embodying the country’s hopes for a bright future.

Enwonwu’s use of colour in Nigerian Beauty is particularly striking and reveals his favoured palette of blues and yellows, which he employed in some of his most famous works. The deep blue of the sitter’s dress conveys a sense of calm and introspection, while the yellow of her necklace and hair adornments adds warmth and vitality to the composition. Blue, often associated with depth, stability, and tranquillity, can be seen as reflecting Nigeria’s groundedness and the quiet determination of its people as they approached independence. The yellow, on the other hand, represents optimism, energy, and hope—qualities that defined the national mood in 1959. This thoughtful use of colour enhances the painting’s dual narrative, reflecting both the personal and national elements at play.

Such female portraits by Ben Enwonwu are some of his most sought-after works, making works like Nigerian Beauty particularly valuable to collectors. His sensitivity to the female form and his ability to convey both the physical beauty and inner strength of his subjects make these portraits highly desirable. Among Enwonwu’s most famous female portraits is Tutu (1974), often referred to as the "African Mona Lisa," which remains one of his highest-selling and most iconic works. Tutu, like Nigerian Beauty, features a young Nigerian woman portrayed with grace, elegance, and dignity. Both paintings share a similar approach in their emphasis on the sitter’s inner strength and beauty, and both are significant for their representation of Nigerian women in a modern, yet deeply cultural, context.

Another notable comparison is Christine (1971), sold in these rooms in October 2019. Like Nigerian Beauty, Christine blends the personal with the universal, portraying a woman whose beauty and strength transcend cultural boundaries. Both paintings highlight Enwonwu’s exceptional skill in capturing the essence of his subjects, while also using them as symbols of larger social and cultural themes. Nigerian Beauty, with its dual symbolism, stands alongside these renowned works as an exceptional example of Enwonwu’s ability to weave together personal and national narratives in his art.

In conclusion, Nigerian Beauty is a painting of profound significance, both artistically and historically. Created on the eve of Nigeria’s independence, it captures the essence of a moment when the country was poised to embrace its new identity. Through the depiction of a young woman, Enwonwu reflects the beauty, strength, and optimism of a nation on the brink of self-determination. The painting’s modernity, expressed through the sitter’s dress, hairstyle, and posture, mirrors the aspirations of Nigeria’s youth at the time. Its place within Enwonwu’s oeuvre, alongside iconic works such as Tutu and Christine, underscores its importance as a rare and exceptional piece in the artist’s legacy. Nigerian Beauty not only celebrates an individual but also stands as a timeless representation of Nigeria itself, a young nation full of promise and potential.

The present lot was acquired by a young American schoolteacher, who lived with the celebrated author Cyprian Ekwensi (1921 - 2007) and his family in Lagos in the summer of 1959 as part of the Experiment in International Living, a worldwide program offering international homestays. Ekwensi introduced her to Enwonwu; the two men moved in the same circle of artists and intellects, Ekwensi having interviewed Enwonwu and published reviews of his work on a number of occasions in the late 1950s. The seller will donate a portion of the proceeds of this sale to The Massachusetts Institute Of Technology (MIT) in her memory.