African Art in the Barnes Foundation

Zusatztext " African Art in the Barnes Foundation features detailed catalogue entries by preeminent scholars in African studies and art history! completing a monograph that will long serve as an important resource in the field ." - ArtDaily.com "When you hear the Barnes Foundation in Philadelphia! you think Matisse and Renoir! but Albert Barnes also collected African sculpture! and was one of the first Americans to display it as art! not ethnography. What he collected! and how! and why! are the subjects of African Art in the Barnes Foundation ! which is also a catalog of the collection." - THE NEW YORK TIMES Informationen zum Autor Christa Clarke is senior curator of Arts of Global Africa at the Newark Museum, New Jersey. She is a specialist in historic and contemporary African art. Klappentext The first publication of the Barnes Foundation's important and extensive African art collection. The Barnes Foundation is renowned for its astonishing collection of Postimpressionist and early Modern art assembled by Albert C. Barnes, a Philadelphia pharmaceutical entrepreneur. Less known is the pioneering collection of African sculpture that Barnes acquired between 1922 and 1924, mainly from Paul Guillaume, the Paris-based dealer. The Barnes Foundation was one of the first permanent installations in the United States to present objects from Africa as fine art. Indeed, the African collection is central to understanding Barnes's socially progressive vision for his foundation.This comprehensive volume showcases all 123 objects, including reliquary figures, masks, and utensils, most of which originated in France's African coloniesMali, Côte d'Ivoire, Gabon, and the Congoas well as in Sierra Leone, Republic of Benin, and Nigeria. Christa Clarke considers the significance of the collection and Barnes's role in the Harlem Renaissance and in fostering broader appreciation of African art in the twentieth century. In-depth catalog entries by noted scholars in the field complete the volume. Zusammenfassung The first publication of the Barnes Foundation's important and extensive African art collection. The Barnes Foundation is renowned for its astonishing collection of Postimpressionist and early Modern art assembled by Albert C. Barnes, a Philadelphia pharmaceutical entrepreneur. Less known is the pioneering collection of African sculpture that Barnes acquired between 1922 and 1924, mainly from Paul Guillaume, the Paris-based dealer. The Barnes Foundation was one of the first permanent installations in the United States to present objects from Africa as fine art. Indeed, the African collection is central to understanding Barnes's socially progressive vision for his foundation.This comprehensive volume showcases all 123 objects, including reliquary figures, masks, and utensils, most of which originated in France's African coloniesMali, Côte d'Ivoire, Gabon, and the Congoas well as in Sierra Leone, Republic of Benin, and Nigeria. Christa Clarke considers the significance of the collection and Barnes's role in the Harlem Renaissance and in fostering broader appreciation of African art in the twentieth century. In-depth catalog entries by noted scholars in the field complete the volume....

"African Art in the Barnes Foundation features detailed catalogue entries by preeminent scholars in African studies and art history, completing a monograph that will long serve as an important resource in the field."
-ArtDaily.com

"When you hear the Barnes Foundation in Philadelphia, you think Matisse and Renoir, but Albert Barnes also collected African sculpture, and was one of the first Americans to display it as art, not ethnography. What he collected, and how, and why, are the subjects of African Art in the Barnes Foundation, which is also a catalog of the collection." 
-THE NEW YORK TIMES
 

Autorentext

Christa Clarke is senior curator of Arts of Global Africa at the Newark Museum, New Jersey. She is a specialist in historic and contemporary African art.

Klappentext

The first publication of the Barnes Foundation's important and extensive African art collection. The Barnes Foundation is renowned for its astonishing collection of Postimpressionist and early Modern art assembled by Albert C. Barnes, a Philadelphia pharmaceutical entrepreneur. Less known is the pioneering collection of African sculpture that Barnes acquired between 1922 and 1924, mainly from Paul Guillaume, the Paris-based dealer. The Barnes Foundation was one of the first permanent installations in the United States to present objects from Africa as fine art. Indeed, the African collection is central to understanding Barnes's socially progressive vision for his foundation.This comprehensive volume showcases all 123 objects, including reliquary figures, masks, and utensils, most of which originated in France's African colonies—Mali, Côte d'Ivoire, Gabon, and the Congo—as well as in Sierra Leone, Republic of Benin, and Nigeria. Christa Clarke considers the significance of the collection and Barnes's role in the Harlem Renaissance and in fostering broader appreciation of African art in the twentieth century. In-depth catalog entries by noted scholars in the field complete the volume.

Zusammenfassung
The first publication of the Barnes Foundation’s important and extensive African art collection. The Barnes Foundation is renowned for its astonishing collection of Postimpressionist and early Modern art assembled by Albert C. Barnes, a Philadelphia pharmaceutical entrepreneur. Less known is the pioneering collection of African sculpture that Barnes acquired between 1922 and 1924, mainly from Paul Guillaume, the Paris-based dealer. The Barnes Foundation was one of the first permanent installations in the United States to present objects from Africa as fine art. Indeed, the African collection is central to understanding Barnes’s socially progressive vision for his foundation.This comprehensive volume showcases all 123 objects, including reliquary figures, masks, and utensils, most of which originated in France’s African colonies—Mali, Côte d’Ivoire, Gabon, and the Congo—as well as in Sierra Leone, Republic of Benin, and Nigeria. Christa Clarke considers the significance of the collection and Barnes’s role in the Harlem Renaissance and in fostering broader appreciation of African art in the twentieth century. In-depth catalog entries by noted scholars in the field complete the volume.