A Brief Overview of African Art
Authentic pieces of African art can be extremely diverse. However, there are often common themes and features which can be seen to appear within artwork from Africa – here is a quick guide to just a few of them.
Firstly, it should be noted that there is a huge focus on the humour figure within many different types of African art. Different figures and people have long been the primary theme within African art, although the merging of human and animal bodies is also not uncommon. This element can be seen to have had a huge influence of a number of European artists.
African art was also one of the first examples of artwork which incorporated the use of gems and precious stones. This is another element which can be seen to have been replicated in artwork across the world, right up until the modern era. Previously, western art was largely in thrall to classical influences, until Picasso and 20th century artists began to see inspiration in African art. Although it might be difficult to see how contemporary artists and sculptors, like Louise Bourgeois, or modern-day jewellers, such as 77 Diamonds, have been shaped by such influences, many of their European predecessors almost certainly would have been. This can also be seen as a product of the fact that African artists tend to favour sculptures, over two-dimensional pieces.
Within these three-dimensional works, African art is often relatively abstract, especially when it comes to scale and proportion. More often than not, African artwork does not follow a precise scale, providing more of an abstract representation of the people or scenes depicted. This quality is often considered to be similar to that of Ancient Egyptian artwork, which also avoided naturalistic features and styles.
In addition to this, African art is also heavily influenced by its practical uses. Many African works are specifically created for various types of ‘performance’, such as heavily decorated masks and robes which would usually be worn within a ceremonial context.
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