Ben Enwonwu

Private Collection, Belgium

Acquired from the above by the present owner

Ben Enwonwu's The Emir in Council is a masterful work that encapsulates a pivotal moment in Nigerian history, bridging the colonial era and the dawn of independence. This newly discovered painting, executed between 1945 and 1959, offers a rare glimpse into the artist's evolving style and his role in shaping Nigeria's cultural identity during a transformative period.

Benedict Chukwukadibia Enwonwu, born in 1917 in Onitsha, Nigeria, embarked on his artistic journey at a young age. In 1944, he received a scholarship to study at the Slade School of Fine Art in London, where he began this remarkable work. The painting's extended execution period, spanning from his time in London to his return to Nigeria, reflects Enwonwu's artistic growth and his deepening engagement with Nigeria's political landscape.

During his time abroad, Enwonwu honed his skills, blending Western techniques with African aesthetics. Upon returning to Nigeria in 1948, he became a vocal advocate for Nigerian art and culture. As the country approached independence, Enwonwu's work took on greater political significance, contributing to the visual narrative of a nation on the cusp of self-governance.

The Emir in Council depicts a scene of great cultural and political importance. The central figure, likely the Emir of Kano, is shown presiding over his council of advisors. The setting, with its ornate decorations and the distinctive attire of the figures, points to the royal court of Kano, a city Enwonwu visited multiple times during this period.

The Emir of Kano, a position of immense prestige and influence in northern Nigeria, underwent a transition during the painting's creation. In 1945, Abdullahi Bayero held the title, while by 1959, Muhammadu Sanusi I had ascended to the throne. This change in leadership adds a layer of historical complexity to the work, potentially reflecting the shifting dynamics of traditional authority in a modernising Nigeria.

A striking element of the painting is the presence of British colonial officers, identifiable by their distinctive uniforms, seen guarding the entrance to the throne room in the painting's background. Their inclusion serves as a potent reminder of the colonial system still in place during the work's creation. This detail puts one in mind of another seminal work of the period, the allegorical Nigeria in 1959 by Demas Nwoko, where the colonial officer is exposed as sleeping on the job, described by Chika Okeke-Agulu as “systemic disarticulation and somewhat loss of order and servitude”. While the officers in Enwonwu's painting are certainly alert, it is clear the balance of power is already shifting to Nigeria's indigenous leaders.

Both Enwonwu's and Nwoko's works offer powerful political commentaries. They capture the tension between traditional African governance structures and the lingering presence of colonial authority. The juxtaposition of the Emir's council with the colonial guards in Enwonwu's painting speaks volumes about the complex power dynamics at play in pre-independence Nigeria.

The Emir in Council represents an exciting addition to Enwonwu's oeuvre. Its recent discovery adds a new dimension to our understanding of the artist's work during this crucial period. The painting's subject matter, technical execution, and historical context make it a museum-worthy piece, offering invaluable insights into Nigeria's journey towards independence.

Enwonwu's masterful handling of colour and form is evident in the work. The rich, warm tones of the traditional robes contrast beautifully with the cooler hues of the colonial uniforms, creating a visual tension that mirrors the political climate of the time. The artist's ability to capture the dignity and authority of the Emir and his council, while subtly acknowledging the colonial presence, demonstrates his nuanced approach to portraying Nigeria's complex socio-political landscape.

The painting's composition is particularly noteworthy. The Emir, likely seated on an ornate throne, forms the focal point of the piece. His advisors are arranged around him, their postures and expressions conveying both deference and engagement. The colonial policemen, while present, are not active participants in the council's proceedings.

The Emir in Council is not merely a portrait of a specific moment but a reflection of a nation in transition. It captures the delicate balance between traditional governance structures and the impending shift towards modern statehood. The work's execution period, spanning from 1945 to 1959, coincides with crucial years in Nigeria's march towards independence, making it a visual chronicle of this historic journey.

Enwonwu's decision to focus on the Emir of Kano and his council is particularly significant. Kano, as one of the major cities in northern Nigeria, played a crucial role in the country's political landscape. By depicting this scene, Enwonwu acknowledges the importance of traditional leadership structures in shaping Nigeria's future, while also hinting at the challenges of integrating these structures into a modern, independent nation.

In conclusion, The Emir in Council stands as a testament to Ben Enwonwu's artistic vision and his deep engagement with Nigeria's cultural and political evolution. This newly discovered work not only enhances our understanding of Enwonwu's oeuvre but also provides a unique window into a transformative period in Nigerian history. Its historical significance, coupled with its artistic merit, makes it an invaluable addition to any museum collection dedicated to African modernism or global political art.