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Unmarried Surma Girl-Carol Beckwith & Angela Fisher

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Unmarried Surma Girl-Carol Beckwith & Angela Fisher

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This piece of art relates to African culture. It shows the traditions in face paint they use to do. It also stands for some of their beliefs and morals.

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Unmarried Surma Girl - Carol Beckwith & Angela Fisher - Google Arts & Culture

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A young girl with her face painted watches the traditional stick fight with an eye to selecting her husband.

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This art piece represents the community as a whole. Although it isn't specifically directed towards the African culture; the African culture was a huge role within the Vietnam war. I really like the crowded area of this art piece as it shows how hectic it was during this era.

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No To The War - Evening Standard - Google Arts & Culture

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A demonstration in Grosvenor Square against the Vietnam War, 27th October 1968. (Photo by Evening Standard/Hulton Archive/Getty Images)

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This is a figure from African decent that stands for Christianity. It was introduced in the fourth century. I really like the shape and rare color the artist used in it along with the overall design.

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Christianity has an extensive history in Africa. It was first introduced in the fourth century to the ancient and prosperous Axumite kingdom in present-day Ethiopia. The Axumites traded far and wide, exporting incense, ivory, rhinoceros horn, tortoiseshell, apes, and slaves through the port of Adulis on the Red Sea and importing goods and ideas from Syria, Egypt, and other lands. St. Mark (or Frumentius), a Syrian from Alexandria, Egypt, is usually credited with introducing Coptic Christianity to the Axumite king Ezana, who established the Ethiopian Orthodox Church. During the period between the late twelfth and early thirteenth centuries, King Lalibela desired to build a new Jerusalem. The churches in the capital of Lalibela were cut out of rock and are the largest monumental structures in Africa.(5)

Portuguese navigators in the late fifteenth century took Roman Catholic priests on their exploratory voyages to coastal West, Central, and East Africa. Initial efforts to convert the king (oba) of the Benin kingdom failed but mutually beneficial commercial trade-the trafficking of European luxury goods, firearms, and brass in exchange for salt, pepper, and slaves-was established. During the early sixteenth century the reigning Edo king also refused to be baptized, but he allowed his son to do so and to learn Portuguese, thereby enhancing diplomatic relations. Missionary efforts had ceased by 1540, probably as a result of unprofitable commercial transactions, and were not attempted again until the seventeenth century.

The first Christian state in sub-Saharan Africa was the Kongo kingdom in present-day northern Angola. João I and his nobles were baptized in 1491,(6) and hundreds of Kongo subjects and Portuguese carpenters built a Catholic church. By the time João died in 1509, he had lost interest in Christianity. His son and successor Afonso I Mvemba Nzinga (reigned 1506-1543) was a devout Christian, however, and re-founded the Kongo kingdom with Christianity as its state religion.(7) Although Afonso thought the Portuguese partners were not adhering to Kongo laws governing the slave trade, he sent his son Henrique Kinu a Mvemba to Portugal to be educated. Henrique eventually became a bishop.

The Dutch seized Portuguese trading establishments in the early seventeenth century and supplanted the Portuguese in the Atlantic slave trade. The Dutch were followed by the Danes, and they by the British. Each reintroduced European Christianity to Africa as part of their commercial and colonial agendas. During the eighteenth and nineteenth centuries, repatriated Christian slaves helped spread the Word. When European powers divided sub-Saharan Africa among themselves and created colonies in the late nineteenth century, conversion to the Christian religion availed one of Western education and with access to the requisite skills for survival in a changed world.

Representing the crucified Christ, crosses are the most important symbol of Christianity. Artists made them in different sizes for use in different contexts. For example, large elaborately decorated crosses are mounted on poles that raise them above the heads of the worshippers in processions during feast days (fig. 59). During worship, processional crosses are used to bless the congregation, baptismal water, sacraments, and the four corners of the church. They are commonly made of copper alloys and cast by the lost-wax process (cire perdue), which makes each one unique. Processional crosses made of iron and silver are more uncommon.(8)

The Dallas Museum of Art's collection of over two hundred examples also includes handheld crosses made of wood or metal and small metal pendants for necklaces. Kenneth Redden, a founder of Ethiopia's first law school in the late 1960s, assembled the collection. Haile Selassie, emperor of Ethiopia from 1930 to 1974, allowed Redden to export the crosses on the condition that they be displayed publicly.(9)

Tradition-based artists in West and Central Africa also found new patronage in the Christian church.(10) In addition to crucifixes and other devotional objects, they carved figures of religious. The Dallas figure posed in prayer may depict a monk or a nun wearing a pith helmet or a veil. Because both men and women wore habits that concealed their bodies from head to toe, gender identification is difficult. The observant artist carefully depicted the knotted leather or fiber belt with ends that terminate in a cross, the folds of the garment, and the shoes.

The Arts of Africa at the Dallas Museum of Art, cat. 99, pp. 264-267.

5. Grierson, Roderick, ed. African Zion: The Sacred Art of Ethiopia. New Haven and London: Yale University Press, in association with Fort Worth: InterCultura; Baltimore: Walters Art Gallery; and Addis Ababa: Institute of Ethiopian Studies, 1993. p. 8.

Mark, in Phillips, Tom, ed. Africa: The Art of a Continent. London: Royal Academy of Arts; Munich: Prestel, 1995. pp. 17-18.

6. Pigafetta, Filippo. A Report of the Kingdom of Congo. 1881. Repr., trans. Margarite Hutchinson. London: Cass, 1970. pp. 70-78.

7. MacGaffey, Wyatt. Kongo Political Culture: The Conceptual Challenge of the Particular. Bloomington: Indiana University Press, 2000. p. 214.

8. Moore, in Institut für Auslandsbeziehungen. Religiöse Kunst Äthiopiens. Religious Art of Ethiopia. Edited by Walter Raunig. Stuttgart: Bodan AG, 1973. pp. 67-90.

9. Louise Cantwell to Anne Bromberg, personal communication, 14 August 1992.

10. Lips, Julius E. The Savage Hits Back. New Hyde Park, N.Y.: University Books, 1966. pp. 164-188.

For the most noteworthy examples of African Christian art found among the Yoruba of Nigeria and various peoples of the Democratic Republic of the Congo (the former Belgian Congo), see Carroll, Kevin. Yoruba Religious Carvings: Pagan and Christian Sculpture in Nigeria and Dahomey. New York: Praeger, 1967. pp. 137-153.

Lehmann, Arno. Christian Art in Africa and Asia. St. Louis: Concordia, 1966.

National Museum of African Art. The Stranger Among Us. Exh. broch. Washington, D.C.: National Museum of African Art, Smithsonian Institution, 1982.

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Standing figure of a religious - Google Arts & Culture

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Christianity has an extensive history in Africa. It was first introduced in the fourth century to the ancient and prosperous Axumite kingdom in present-day Ethiopia. The Axumites traded far and wide, exporting incense, ivory, rhinoceros horn, tortoiseshell, apes, and slaves through the port of Adulis on the Red Sea and importing goods and ideas from Syria, Egypt, and other lands.

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This is a map of war on Africa during the 1940s. I consider this collection of lithographs art as it portrays different techniques and a lot of visual planning during the war. I really like the Paths and such that the artist provided.

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War of Africa. Situation of Italian troops in Tunisia on 21th November 1942 - Bettino Craxi - Google Arts & Culture

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"Guerra d'Africa" is a collection of lithographs in which are represented some military action maps during the African war in '42-'43.

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This is a African medal awarded to a assistant surgeon. I really like this piece of art because it shows the colors and diligence used in the craft. From the fine threads of each seam to the craft of the metal. It all is crafted uniquely and I really admire that.

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South Africa medal 1834-1853, silver, with ribbon, - Wyon, William (artist) and Wyon, Leonard Charles (artist) - Google Arts & Culture

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South Africa medal 1834-1853, silver, with ribbon, awarded to Assistant Surgeon W.T. Black, by L.C. and W. Wyon, England, 1853

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This artwork represents the African culture. This is a room with very dated artwork and shows multiple examples of artwork being from the African culture. I love the lighting design and the different type of objects presented.

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Africa Room - Robert Polidori - Google Arts & Culture

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Explore collections and stories from around the world with Google Arts & Culture.

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This artwork represents the African culture. This seems to be a bow;l that the African culture used in order to collect water,. It shows the struggle the African culture had to go through to make cookware and such. I love the color design and how it is so smooth.

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Toots Zynsky's glass vessels are remarkable for their graceful form, dazzling colors, and inviting texture. Trained as a painter at the Rhode Island School of Design, Zynsky is attracted to provocative designs that can be achieved with the use of layered colors, much as one might achieve with paint on canvas. She combines this painter's sensibility with her experience as a weaver and an enthusiastic collector of textiles to create vessels that are truly unique.

The raw materials Zynsky uses are glass threads created by a machine that was developed by Dutch designer Mathijs Teunissen van Manen, which uses technology similar to that which creates fiber-optic strands. Her technique uses threads that are placed in patterns that she has designed, often made up of a multitude of rich colors. Following a heat treatment in which the threads are fused flat, they are placed in a mold that creates the bowl shape. Taking advantage of the pliability of the warm glass, Zynsky shapes the rim and further works the piece to achieve the form she desires.

A journey to West Africa in 1984-1985 inspired her African Dream series. While there, she marveled at the rich array of colors she observed in local textiles, houses, wildlife, and flowers. During an extended stay in Ghana, Zynsky collaborated with an African weaver on a large textile work that used the brilliantly colored yarns and cloth she found in area textile markets. Upon her return to her studio, she began making the striking multihued glass vessels that included The Exotic Birds, African Dream Series.

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The Exotic Birds, African Dream Series - Toots Zynsky - Google Arts & Culture

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Toots Zynsky's glass vessels are remarkable for their graceful form, dazzling colors, and inviting texture. Trained as a painter at the Rhode Island School of Design, Zynsky is attracted to provocative designs that can be achieved with the use of layered colors, much as one might achieve with paint on canvas.

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Kneeling female with a bowl and child.-Unknown

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Kneeling female with a bowl and child.-Unknown

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This artwork represents the African culture. This shows a mother kneeling with her child and a bowl probably collecting water from a nearby river. This shows the struggle they went through on a daily bases. I like the white color that was used along with the overall thought process of the sculpture. It stands out and shows a important message that everyone is not as fortunate.

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Among the Yombe, carved wooden human figures portray individual ancestors who may have founded a lineage or otherwise made important contributions to their families and their communities. Enshrined in small memorial houses in cemeteries, these idealized sculptures guard the dead, including their own remains, and provide a means of contact with the ancestor and other spirits in the realm of the dead (mpemba).

This kneeling female figure and child (pfemba) represents an important woman. She has a high, miterlike coiffure or headdress and wears five bracelets, which exceed the number worn by ordinary Yombe women, on her left wrist. Her filed teeth, visible through parted lips, indicate she was properly initiated into womanhood, and the painted marks may represent scarification. The white kaolin covering her body has the ashen quality of the dead, but it also refers to purity and moral correctness, both important Yombe values. She probably represents a clan founder.

The figure leans slightly forward and kneels in an attitude of respect while balancing a male child on her left foot. Her left hand supports the child's back as her right one rests of top of a bowl-shaped pot containing potent medicine that can cure illness or resolve social conflicts. Her palm is open in a gesture of generosity. Her glass-covered eyes afford her access to the worlds of the living and the dead.(28) Taken together, the attributes of this figure-its coloring, posture, and gesture-and the presence of the child and the medicine indicate this woman's contribution was that of a "spiritually imbued mother," who was a great healer and protector of children.(29) Many published accounts of sculptures of this kind depict the child with his arms across his chest as exemplified by figures in the collections of the Yale University Art Gallery and the National Museum of African Art, Smithsonian Institution.(30) The child in the Dallas figure clings to his mother's leg in the same way as that in an early twentieth-century photograph of a memorial enclosure (fig. 47).

The Arts of Africa at the Dallas Museum of Art, cat. 72, pp. 206-207.

28. Thompson, Robert Farris, and Joseph Cornet. The Four Moments of the Sun: Kongo Art in Two Worlds. Washington, D.C.: National Gallery of Art, 1981. p. 145.

29. Thompson, Robert Farris. "Icons for the Brave and Generous: Kongo Art at Yale." Yale University Art Gallery Bulletin (2005). pp. 86-87.

30. Ibid. p. 86, fig. 9.

National Museum of African Art. Selected Works from the Collection of the National Museum of African Art. Vol. 1. Washington, D.C.: National Museum of African Art, Smithsonian Institution, 1999. vol. 1, pp. 118-119, cat. no. 80.

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Kneeling female figure with bowl and child - Google Arts & Culture

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Among the Yombe, carved wooden human figures portray individual ancestors who may have founded a lineage or otherwise made important contributions to their families and their communities. Enshrined in small memorial houses in cemeteries, these idealized sculptures guard the dead, including their own remains, and provide a means of contact with the ancestor and other spirits in the realm of the dead (mpemba).

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This looks to be a clay doll made by a person of south African culture. I like the designs of the doll and how they crafted the arms. Its very unique and looks to be made out of clay.

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South African Figurine - Unknown Creator - Google Arts & Culture

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Large standing figure of a woman in wood with bead ornaments, including shell and coral [?] bead necklaces and textile or string loin tassles. Attached to ...

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This artwork represents the African culture. It shows a man riding a horse and how the African culture would import their food and how animals played a important role. I really like the color of orange looks. It gives it a ancient and yet significant look.

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This exquisite sculpture depicts one of the most important imports: Equus caballus, the domestic horse. Introduced circa 1640-1532 BC to ancient Egypt by western Asian conquerors, horses were initially used to draw chariots in military campaigns.(11) Subsequently, horses were introduced to western Sudan (northern region of West Africa) via the Sahara Desert in about AD 1000 by Muslim Arab and Amazigh (also known as Berber) traders. Mounted armies enabled the medieval Sudanese kingdoms of Ghana, Mali, and Songhai to be established and flourish. Despite the inhospitable, humid climate and deadly tsetse flies, it appears that horses-or the knowledge of horses-reached as far as the southern area of present-day Nigeria. The evidence is a tenth-century AD bronze hilt cast in the form of a horse and rider that was excavated from a royal burial chamber in Igbo-Ukwu village. This sculpture predates the horses Portuguese mariners and merchants brought to coastal West Africa in the mid- to late fifteenth century. (12) During the centuries that followed, northern traders and invaders continued to supply horses while successive European voyagers brought new breeds to sub-Saharan Africa.

Horses bearing foreign goods were welcome, but horses carrying warriors on their backs were "fearful bearers of power"(13) that facilitated conquests of other peoples and territorial expansion. Equine speed, physical strength, ability to elevate their riders above even the tallest standing person, and the cost to acquire, sustain, and replace them made horses, and by association their owners, symbols of power and prestige. In African art, horse-and-rider imagery generally connotes prestige, wealth, and power.

Among the Yoruba, carved wood elesin (literally "horse owner"), horse-and-rider figures, serve as supports for divination bowls, as superstructures on staffs and Epa masks, and as freestanding figures on altars dedicated to various deities (e.g., Shango, the god of thunder and lightning; Ogun, the god of iron; Erinle, the hunter; Orisha-oko, god of the farm; or Eshu, the divine messenger/trickster). (14) Carved ivory horse-and-rider figures like this one are prized because elephant ivory was reserved for the king (oba) and the hunter who killed the animal. Such objects are found among the divining paraphernalia owned by highly successful Ifa diviners and by rulers who install the figures on private or communal altars in shrines dedicated to Shango (the deified fourth king of the old Oyo kingdom in northern Yorubaland, who is believed to have reigned in the seventeenth century, and who was a brilliant military general and a master horseman). According to his praise poem (oriki), Shango had a stable of ten thousand horses!(15)

Religious rituals and indigenous oral traditions, which include oriki and owe (proverbs), can be used to interpret the meaning of equestrian figures for Shango shrines. During worship activities, for example, favored devotees are "ridden" or "mounted" by Shango; hence, horse-and-rider imagery symbolizes the state of being possessed. In an oriki about the deity, the horse symbolizes lightning that Shango learned to attract using a powerful charm:

Fire in the eye, fire in the mouth,
fire on the roof
You ride fire like a horse.(16)

The concept that the power of words is equal to the strength and speed of a horse is expressed in the adage "Proverbs are the horses of communication."(17) This elesin Shango was carved in the Owo kingdom located in the tropical forest region and famous for the fine ivory carvings that were made from the sixteenth to eighteenth century. It would have been difficult to sustain horses in Owo, so this rendering may not be based on actual experience, but on oral descriptions or the carved altarpieces that traveled with Shango worship. The unknown sculptor carefully and skillfully depicted the details of the rider's costume and the horse's tack as he created a highly stylized and esoteric image. The rider is taller than the horse, which could indicate that the artist had no firsthand experience of horses. The horse depicted could be one of the small breeds, but it is more likely that the artist was emphasizing the importance of the rider, Shango. The single-reined, bitless bridle and the absence of saddle and stirrups probably reflects early West African horsemanship before the introduction of saddles.(18) Equestrian figures carved during the nineteenth century or later portray the rider seated on a saddle and his feet in stirrups. The rider's tailed cap is decorated with a geometric pattern that is perforated, probably for inlaid pieces like those used to form his pupils. His bulging eyes follow stylistic conventions of Yoruba art and contain characteristics, such as the notched lids that may represent eyelashes, associated with Owo artistry. The lines, carved in relief and extending from his temple to his mouth, may represent a scarification pattern, albeit one that is found among the Ijebu-Ode Yoruba to the south.(19) The clientele of Owo ivory carvers extended far beyond the artisans' hometown. In another interpretation, the rider has a gag to echo the curved bridle on the horse.(20) If the rider is indeed Shango, as either king or deity, however, he would not stand to be gagged.

The Arts of Africa at the Dallas Museum of Art, cat. 100, pp. 268-271.

11. Quirke, Stephen, and Jeffrey Spencer. The British Museum Book of Ancient Egypt. New York: Thames and Hudson, 1992. p. 21.

12. Shaw, Thurstan. Unearthing Igbo-Ukwu: Archaeological Discoveries in Eastern Nigeria. Ibadan and New York: Oxford University Press, 1977. pp. 56-58, fig. 4-11; 92.

13. Cole, Herbert M. Icons: Ideals and Power in the Art of Africa. Washington, D.C.: Smithsonian Institution Press for the National Museum of African Art, 1989. p. 126.

14. Lawal, Babatunde. "Yoruba 'Shango' Sculpture in Historical Retrospect." PhD diss., Indiana University, 1970. p. 124.

15. Thomas Jefferson Bowen, quoted in Lawal, 1970. p. 116 n. 375.

16. Ulli Beier, quoted in Abiodun, in Pemberton, John III, ed. Insight and Artistry in African Divination. Washington, D.C.: Smithsonian Institution Press, 2000. p. 187.

Beier, Ulli, comp. and transl. Yoruba Poetry: An Anthology of Traditional Poems. Cambridge: Cambridge University Press, 1970.

17. Abiodun, in John Pemberton III, ed. Insight and Artistry in African Divination. Washington, D.C.: Smithsonian Institution Press, 2000. pp. 182-192.

18. Law, in Pezzoli, Gigi. Cavalieri dell'Africa: Storia, iconografia, simbolisimo / Cavaliers d'Afrique: Histoire, iconographie, symbolisme / Horsemen of Africa: History, Iconography, Symbolism. Milan: Centro Studi Archeologia Africana, 1995. pp. 179-180.

19. Joubert, in Musée des Arts d'Afrique et d'Océanie. Arts du Nigeria: Collection du musée des Arts d'Afrique et d'Océanie. Paris: Réunion des musées nationaux, 1997. p. 259, fig. 89.

20. Okediji, Moyo. "Shango's Equestrian Figures of Speech and Spectacle." Unpublished essay. Dallas: Dallas Museum of Art, 2000. p. 16.

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Horse-and-rider figure (elesin Shango) - Google Arts & Culture

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This exquisite sculpture depicts one of the most important imports: Equus caballus, the domestic horse. Introduced circa 1640-1532 BC to ancient Egypt by western Asian conquerors, horses were initially used to draw chariots in military campaigns.(11) Subsequently, horses were introduced to western Sudan (northern region of West Africa) via the Sahara Desert in about AD 1000 by Muslim Arab and Amazigh (also known as Berber) traders.

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This is a comb used by the Africans in the past. This shows how unfortunate they were and how they did not have all the materials everyone else had. I like the design and the shape of the comb along with some what of the color.

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Artists use great skill and imagination when fashioning African combs in materials such as wood, bone, or ivory. The spines, or handles, are decorated with carved motifs and precious metals, including locally mined gold and imported brass. The earliest extant African combs were found in ancient Egyptian tombs and are thousands of years old. Several combs excavated at Dawu in Ghana date to the seventeenth century, which also corresponds to the earliest European accounts of African combs. Most wooden combs that have survived tropical climate conditions date from the nineteenth century.(22)

While both men and women use combs, women's combs are usually the most elaborately decorated. This is especially true among the Asante peoples. Although an Asante woman may commission a sculptor to carve combs for her, she usually receives them as gifts from family, male admirers, or her husband to mark important events in her life such as coming of age, getting married, or giving birth. The carved decorations on Asante combs refer to Asante proverbs or other traditional sayings, a few of which can be identified on the Asante comb (cat. 83).

The spine is divided into two parts consisting of a rectangle with openwork motifs surmounted by a medallion with openwork motifs. Reading upward from the lower part of the rectangle, there is an incised drawing of a ceremonial state sword with a dumbbell-shaped hilt and curved blade that is associated with the proverb "No one challenges a lion unarmed," which means one should be prepared. The stool flanked by a pair of knots at the center of the comb has great significance. The Golden Stool is the most important religious and political symbol of the Asante nation. According to Asante oral tradition, the Golden Stool descended from the heavens to land gently on the knees of Osei Tutu, the founder and first king of the Asante empire. This stool is the repository for the entire Asante nation. A personal stool is the repository of an individual's soul in life and after death. Its significance is embodied in the Asante saying "There are no secrets between a man and his stool."(23) The two square knots are a symbol of intelligence and refer to the proverb "Only a wise man can untie a wisdom knot."(24) The hairstyle with upright plaits on the female bust in the medallion has been documented on a Fante woman photographed in the early twentieth century.(25) The crosses projecting from either side of the comb are Christian symbols. This comb is as carefully detailed on the back as it is on the front.

Combs were emblems of status among the Chokwe peoples. Those made of wood or ivory with spines decorated with carved figures and abstract patterns were more valuable than unadorned wooden combs or those made from cane or wires. Like Asante and Fante combs, elaborately decorated Chokwe combs were heirlooms handed down through the generations in the belief that the spirit of the original owner inhabited the object.

The Chokwe comb (cat. 84, 1969.S.142, and see detail, below) is decorated with a figure, of undetermined sex, seated with its elbows resting on its knees.(26) Although the comb may have originated among either the Chokwe or Lwena peoples, the hairstyle is similar to those on Lwena face masks representing females.(27)

The Arts of Africa at the Dallas Museum of Art, cat. 83, pp. 232-233.

22. Cole, Herbert M., and Doran H. Ross. The Arts of Ghana. Los Angeles: University of California, Museum of Cultural History, 1977. pp. 48-51.

23. Fraser, Douglas. African Art and Leadership. Madison: University of Wisconsin Press, 1972. pp. 140-144.

24. Cole and Ross, 1977. pp. 140-144.

25. Photograph reproduced in Sieber, Roy, and Frank Herreman, eds. Hair in African Art and Culture. Munich: Prestel, for the Museum for African Art, 2000. p. 12, as fig. 4.

26. It is similar to the one in in the Corice and Armand P. Arman Collection; reproduced in Sieber and Herreman, 2000. p. 139, cat. no. 133.

27. Ibid. p. 140, cat. no. 136.

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Artists use great skill and imagination when fashioning African combs in materials such as wood, bone, or ivory. The spines, or handles, are decorated with carved motifs and precious metals, including locally mined gold and imported brass. The earliest extant African combs were found in ancient Egyptian tombs and are thousands of years old.

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This is a sketch of Gordon de la Mothe, I like the way the sketches are used and the shape that took place when creating this artwork. This artwork represents the African culture.

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Ernest Marke - Gordon de la Mothe - Google Arts & Culture

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Gordon de la Mothe was given an OBE in 2015, primarily for services to art on the Commonwealth island of Grenada, West Indies, his birthplace. He establish...

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This artwork represents the African culture. This artwork shows night and day an basically sums p African culture and the violence that came with it. I like the color and techniques used to make this artwork.

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Black Saturday 2009 - Glenn Morgan - Google Arts & Culture

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Black Saturday 2009' was created after the devastation of Marysville by fire on 7 February 2009, a day that has come to be known as 'Black Saturday'. Morga...

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I like this abstract form of painting from the African culture. It uses colors in a very unique way and it shows how the African culture was very limited within the materials they had to paint.

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Red Black White - Omar Rayo - Google Arts & Culture

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Rayo es uno de los artistas abstractos Colombianos mas recursivos, esta es una de sus obras tempranas que anticipa el gran desarrollo de su lenguaje domina...

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This artwork represents the Indian culture. I like the way the picture is sudden yet so powerful with the men being on their knees and hands behind their head. It shows how men were not looked at as equally.

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Action 62 - Reza Aramesh - Google Arts & Culture

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Explore collections and stories from around the world with Google Arts & Culture.

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African Woman/Pop Art-Lutengano Mwakisophie 

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African Woman/Pop Art-Lutengano Mwakisophie 

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This artwork represents the African culture. It shows how they use to dress based upon their culture. It shows their head wrap designs to get the beaming sun off of them. I like the color that is used in the artwork to describe their variation in clothing.

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African Woman / Pop Art - Lutengano Mwakisophie - Google Arts & Culture

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Explore collections and stories from around the world with Google Arts & Culture.

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Two Chained Monkeys-Pieter Bruegel the Elder

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Two Chained Monkeys-Pieter Bruegel the Elder

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This artwork represents the African culture.  This shows how lonely and sad the monkeys felt. They represent Africa as a whole and how they didn't have any hope, i like the colors used and techniques.

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The picture shows two monkeys chained to an iron ring and sitting in a vaulted window opening. The two animals have obviously come to terms with their sad fate. One is crouching on the floor, with his back bent and huddling in on himself, staring into space, while the other is looking at the viewer. Behind them is a view of an open landscape, flooded with bright daylight, and seen without transition, as though from a high look-out post. The city of Antwerp basks under a pale blue sky. The monkeys Bruegel has painted are of the genus ceropithecidae, collared mangabeys, which inhabit the west coast of Africa. However, Bruegel's picture is not an animal study but an allegory of captivity and the hope of a free life that is inherent in all creatures.

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Two Chained Monkeys - Pieter Bruegel the Elder - Google Arts & Culture

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The picture shows two monkeys chained to an iron ring and sitting in a vaulted window opening. The two animals have obviously come to terms with their sad fate. One is crouching on the floor, with his back bent and huddling in on himself, staring into space, while the other is looking at the viewer.

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This artwork represents the African culture.  I like the way the color was used in relation to the African culture. This shows the limited materials that the African culture had.

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Boldness - Mary Ogembo - Google Arts & Culture

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Bold beautiful face of an African woman with beaded earings

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The South African Colouring Book 4-Gavin Jantijes 

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The South African Colouring Book 4-Gavin Jantijes 

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This artwork represents the African culture. This shows how they were killed greatly due to environmental factors. It shows their culture and i like how the book is organized.

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The South African Colouring Book 4 - Gavin Jantjies - Google Arts & Culture

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Athan or 12-Florida state university museum of fine arts publishing.

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Athan or 12-Florida state university museum of fine arts publishing.

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This artwork represents the African culture. How they praise the gods and how their religion is related to their culture.

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Athanor 12 - Florida State University Museum of Fine Arts Publishing - Google Arts & Culture

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Athanor XII (1994) William Travis Points of View in Romanesque Sculpture: The Cluniac Group Tania Mertzman An Examination of Miniatures of the Office of St...

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This artwork represents the African culture. This piece of artwork which is photography really interest me. It shows how diverse Africa is. How they use all their resources provided.

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Joachim Schönfeldt
Born in Pretoria, South Africa, in 1958.
He lives and works in Johannesburg, South Africa.

Joachim Schönfeldt has long been concerned with the relationship between objects and oral discourse. After graduating from the University of Witwatersrand, Schönfeldt began his artistic career as a curator and researcher of historical African art before becoming a full-time artist in 1988. After he helped to establish one of Johannesburg's first artist collaboratives, Fordsburg Artists Studios (also called The Bag Factory) in 1991, he developed a continuing interest in collaborative and interdisciplinary modes of production and exchange. Using the African art object as a starting point, Schönfeldt's practice articulates a broader investigation into the role of narrative in African culture and the everyday lives of its peoples. In effect, the work itself is an outcome of how objects intervene in discourse, whether they are used in verbal narratives or animated by language itself.
The shifting context of the cultural artifact demonstrates the complexity of Schönfeldt's artistic project. Notions of authenticity and contemporaneity are considered in relation to African history, the medium through which objects continue to communicate and form their essential value. Often exploring a specific working methodology, Schönfeldt animates these objects by liberating them from their conventional use. Where text is absent, the history of Africa's oral society is constructed from found and sourced objects, implements, ruins, and so on. Negating the anthropological approach to the unique artifact as a fragment of the past, Schönfeldt uses symbols from the iconography of a reimagined Pan-African identity, in one instance modifying animals' heads to signify the unity of a metaphorical nationalism.
Guilds & Unions is a multifaceted project that is centered on the enactment of civic activity. In keeping with the artist's critical interest in the social structures that inform the production, distribution, and meaning of the object, Schönfeldt explores the work spaces and activities of local craftsmen. Using audio, visual, and spatial devices, this project will map the processes, environments, and labor of craftsmen in two areas of Johannesburg, the Alexandra and Marlboro Industrial townships. The unfolding of the notion of guilds and unions, through drawings and videos, will spill into live musical and ceremonial performances and interventions, actively questioning the role of national identity and tradition.

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Guilds & Unions - Joachim Schönfeldt - Google Arts & Culture

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Joachim SchönfeldtBorn in Pretoria, South Africa, in 1958.He lives and works in Johannesburg, South Africa. Joachim Schönfeldt has long been concerned with the relationship between objects and oral discourse. After graduating from the University of Witwatersrand, Schönfeldt began his artistic career as a curator and researcher of historical African art before becoming a full-time artist in 1988.

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This artwork represents the African culture. I really like the way the artist used colors and design within this piece. The way they painted this artwork shows the limited number of resources they had in order to use.

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African Women - Pranas Domšaitis - Google Arts & Culture

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Explore collections and stories from around the world with Google Arts & Culture.