A Superb Bembe/Bwende Female Figure, Republic of the Congo

The African-American Institute, Masterpieces of the People’s Republic of the Congo, 1980, cat. 38, p. 37
Warren M. Robbins and Nancy Ingram Nooter, African Art in American Collections, 1989, p. 378, fig. 966

Malvina Hoffman (b. New York, June 15, 1887 - d. New York, July 10, 1966), daughter of pianist Richard Hoffman, was most famous for her life-size sculptures entitled Races of Mankind. The sculptor "roamed the world to do her research" for the series commissioned by The Field Museum, Chicago, in 1930 (New York Times, July 11, 1966). Hoffman studied in New York and Paris, most notably under Auguste Rodin. She loaned several works to an exhibition entitled A New Selection of Tribal Art: The African Image held at The Toledo Museum of Art from February 1-22, 1959.

This magnificent female figure unifies the styles of the neighbouring Bembe and Bwende peoples who live in central Republic of the Congo. While the posture, especially the profile, is in the tradition of Bembe statuary (cf. Lehuard 1989, vol. 1: 93, fig. 8), a number of details are typical of Bwende art. Cf. the lozenge scarification on the forehead in the examples published by Lehuard (1989, vol. 1: 174-179, figs. 1 and B 1-2 through B 1-7); the scarification on the lower abdomen in form of a 'W' with a lozenge element balancing on the center tip, ibid. (97, fig. 12; 104, fig. 12; 173, fig. B 1-1); the scarification below the breasts in the form of a lozenge element with little rectangles emerging from the corners, ibid. (106, bottom right and 176-180, figs. B 1-3 through B 1-8). The chevron scarification on the back of the Stanoff figure is also a motif encountered in Bwende art, ibid. (178, B 1-6; 182, B 2-2). The defined shoulder blades, the pierced ears with attached metal rings and the rounded feet without toes are other features typical of Bwende art (cf. ibid.: 178, fig. B 1-6; 176, fig. B 1-4 and 177, fig. B1-3; 176-182, fig. B 1-4 though B 2-2). Like all Bwende figures, the Stanoff figure is not pierced between the legs for insertion of magic substances. Instead, traces of dark brown residue on the abdomen show the place where originally a magic bundle was attached. For other Bwende figures with magic bundles on the abdomen cf. ibid. (173, fig. B 1-1; 175, fig. B 1-2; 176, fig. B 1-5).

Comparing the characteristics of the two different styles present in the Stanoff figure, it is clear that the artist was more familiar with the Bembe than Bwende iconography. The scarifications on the lower abdomen and below the breasts show a "baroque" character unusual for Bwende works. This may suggest the carver was of Bembe origin and worked on commission for the Bwende. The migration of artists between neighbouring peoples, especially when owning outstanding artistic skill, is well-documented in Central Africa, also to be found, e.g., with the Mangbetu and Azande.