By Carl Einstein, Patrick Healy
?There is infrequently the other artwork which Europeans method with rather a lot distrust as African artwork. the 1st circulate is to even deny that there's this type of factor as?art', after which to emphasize the gap which separates such items from the creations of the Europeans, with a contempt that results in demeaning terminology In his decisions at the Negroes the ecu keeps one significant postulate: his invincible, however exaggerated, superiority. Such disrespect for the Negro is absolutely born of our lack of expertise and the resource of the unjust damage performed to him." Carl Einstein (1885-1940) wa. Read more...
Cover; name web page; CONTENTS; advent; NEGRO SCULPTURE; feedback On process; The Painterly; faith And African paintings; three-d Spatial imaginative and prescient; mask And comparable Practises; PLATES; NEGERPLASTIK; Anmerkungen zur Methode; Das Malerische; faith und afrikanische Kunst; Kubische Raumanschauung; Maske und Verwandtes; concerning the writer; Colophon.
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Extra info for Negro Sculpture
Negro sculpture will prove to be in the formal sense the most powerful realism. The contemporary artist does not seek only for pure form, he pursues it in opposition to his pre-history and ends up often interweaving through his efforts excessive reaction, whereby his necessary critique empowers the analytic character of his art. RELIGION AND AFRICAN ART [See German edition] African art is above all determined by religion. Sculpted work is venerated as it was by the people of antiquity. The maker fashions his work as if it were the divine or its guardian, which is to say that from the very beginning he is situated at a distance from the work, which is a god or its container.
The three dimensions must not be given via the optical, but rather directly, as complete and real expression. Step by step Einstein dismantles Hildebrand’s schema, based on frontality and the silhouette, and posits the need to understand the three-dimensional as integrated into a single visual field through the concatenation of forces which in African art, paradoxically, is found via the formal dimension. Art is unconditioned intensity and the quality of the integration of form in plastic vision.
NEGRO SCULPTURE [See German edition] REMARKS ON METHOD [See German edition] There is hardly any other art which Europeans approach with so much mistrust as African art. The first move is to even deny that there is such a thing as ‘art’, and then to emphasise the distance which separates such products from the creations of the Europeans, with a contempt that leads to demeaning terminology. Such distance, and the prejudices which flow from it, make every aesthetic appraisal difficult, even impossible, because such a valuation presupposes in the first place real familiarity.