- 30
STATUE DÉBLÉ, SÉNUFO, CÔTE D'IVOIRE |
估價
30,000 - 50,000 EUR
招標截止
描述
- wood
- haut. 112 cm ; 44 in
Statue Déblé, Sénufo, Côte d'Ivoire
來源
Collection privée, France, acquis ca. 1980
Condition
Good condition overall. In some places the wood is eroded, especially on the thigh and on the belly. A thin crack running down the proper right side of the torso and another to the proper right part of the head. Minor marks, nicks, scratches, abrasions, and small chips over the entire surface but wear consistent with age and use within the culture. Beautiful remains of white pigments in some places.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
William Rubin, dans son introduction au Primitivisme dans l’art du 20e siècle, énonce la manière dont les artistes modernes perçurent, dans les arts d’Afrique et d’Océanie, un moyen d’élaborer un art doté d’une « dimension universelle et quintessentielle » (1984, p. 55). Les œuvres Sénufo comptent parmi les premiers objets qui entrèrent dans leurs collections. Ils y occupèrent d’emblée une place prééminente, comme en attestent les clichés pris dans l’atelier d’André Derain ou dans l’appartement de Georges Braque. La limpidité des formules inventées par les sculpteurs Sénufo influença les recherches artistiques sur la modernité. Fernand Léger emprunta en particulier à la statuaire Sénufo pour la conception des décors du ballet La Création du monde, de Blaise Cendrars. L’épure géométrique du visage de l’ancêtre primordial résonne dans maints portraits d’hommes de Picasso, tout comme elle se retrouve dans l’économie des lignes du travail de Giacometti. C’est en l’honneur de l’ancêtre originel que les grandes figures deble étaient sculptées. Elles étaient conservées dans le sinzanga, l’enclos sacré du Poro, « l’institution socioreligieuse la plus importante chez les Sénufo » (Goldwater, Senufo Sculpture from West Africa, 1964, p. 9). Le respect voué à l’ancêtre primordial se traduit ici notamment dans le traitement du visage : les yeux, mi-clos, expriment intériorité et recueillement tandis que la bouche, entrouverte sur des dents apparentes, confère à l’ancêtre primordial une expression hiératique mêlant grandeur et autorité. Au raffinement des lignes élémentaires, à la fluidité du mouvement et à la puissante dynamique des volumes s’ajoute l'impact pictural des aplats polychromes, très rares dans la statuaire Sénufo. Dans un subtil équilibre entre naturalisme et abstraction, la sculpture s’anime enfin dans la dynamique des volumes et la tension des courbes convexes et concaves. De cette rigueur et de cette efficacité sculpturale résulte l’impérieuse présence de l’ancêtre primordial.
William Rubin, in his introduction to Primitivism in 20th Century Art (Primitivisme dans l’art du 20e siècle), discusses the ways in which modern artists found, in the arts of Africa and Oceania, a way to develop art with a "universal and quintessential dimension” (1984, p. 55). Senufo works of art were among the earliest objects to integrate their collections. There they immediately took pride of place, as evidenced by the photographs taken in André Derain’s studio or in Georges Braque’s apartment. The flowing clarity of the paths forged by Senufo sculptors shaped artistic research on modernity. Fernand Léger, in particular, borrowed from Senufo statuary for the design of the ballet sets of La Création du monde, by Blaise Cendrars. The pared-down geometry of the primordial ancestor's face finds an echo in many of Picasso’s portraits of men, just as it is found in the elemental outlines of Giacometti's work.
The large deble figures were sculpted in honour of the original ancestor. They were kept in the sacred sinzanga enclosure of the poro, "the most important socioreligious institution for the Senufo" (Goldwater, Senufo Sculpture from West Africa, 1964, p. 9). The respect due to the primordial ancestor is particularly reflected here in the way the face is rendered: the half-closed eyes express both an inward gaze and contemplation, while the half-open mouth, with lips parting to reveal exposed teeth, gives the primordial ancestor a hieratic expression combining grandeur and authority. Finally, the refinement of the elemental lines, the fluidity of the motion and the powerful dynamics of the volumes are compounded by the pictorial impact of the polychromatic layout, very rare in Senufo statuary. Achieving a subtle balance between naturalism and abstraction, the sculpture finally comes alive in the dynamics of volumes and the tension of its convex and concave curves. This rigour and sculptural efficiency produce the majesty of this depiction and the imperious presence of the primordial ancestor.
William Rubin, in his introduction to Primitivism in 20th Century Art (Primitivisme dans l’art du 20e siècle), discusses the ways in which modern artists found, in the arts of Africa and Oceania, a way to develop art with a "universal and quintessential dimension” (1984, p. 55). Senufo works of art were among the earliest objects to integrate their collections. There they immediately took pride of place, as evidenced by the photographs taken in André Derain’s studio or in Georges Braque’s apartment. The flowing clarity of the paths forged by Senufo sculptors shaped artistic research on modernity. Fernand Léger, in particular, borrowed from Senufo statuary for the design of the ballet sets of La Création du monde, by Blaise Cendrars. The pared-down geometry of the primordial ancestor's face finds an echo in many of Picasso’s portraits of men, just as it is found in the elemental outlines of Giacometti's work.
The large deble figures were sculpted in honour of the original ancestor. They were kept in the sacred sinzanga enclosure of the poro, "the most important socioreligious institution for the Senufo" (Goldwater, Senufo Sculpture from West Africa, 1964, p. 9). The respect due to the primordial ancestor is particularly reflected here in the way the face is rendered: the half-closed eyes express both an inward gaze and contemplation, while the half-open mouth, with lips parting to reveal exposed teeth, gives the primordial ancestor a hieratic expression combining grandeur and authority. Finally, the refinement of the elemental lines, the fluidity of the motion and the powerful dynamics of the volumes are compounded by the pictorial impact of the polychromatic layout, very rare in Senufo statuary. Achieving a subtle balance between naturalism and abstraction, the sculpture finally comes alive in the dynamics of volumes and the tension of its convex and concave curves. This rigour and sculptural efficiency produce the majesty of this depiction and the imperious presence of the primordial ancestor.