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Books > Arts & Architecture > History of art / art & design styles > Art styles not limited by date > Art of indigenous peoples
An illustrated compendium of artworks from the ancient Americas
Including Indigenous works from the southwestern United States,
Mesoamerica, the Isthmo-Colombian Area, and the Andes of South
America, this book showcases more than 100 masterpieces of art from
the ancient Americas. These are presented in historical,
archaeological, and artistic context with new photography and
scholarship. The publication considers ceramics, metalworks, stone
carvings, and textiles from an array of America's earliest
civilizations, including Ancestral Puebloan, Mexica, Olmec, Maya,
Chavin, Inca, Moche, Wari, and more. Highlights include some
exceptional rarities, including a Chavin crown with deity figures,
a previously undefined style of four-panel Andean tunics, a Mixtec
mosaic mask, a Maya lidded tetrapod bowl, and breathtaking gold
jewelry from the Isthmo-Colombian Area. Distributed for the Dallas
Museum of Art
This comprehensive view of carvings and paintings on stone by
Native Americans from 200 B.C. through the nineteenth century
surveys the rock art of Utah, Arizona, New Mexico, northern Mexico,
and west Texas, providing an incomparable visual record of
Southwest Indian culture, religion, and society.
Rock carvings and paintings are important sources in the
archaeological and historical interpretation of Southwest Indians.
Rock art reflects the cosmic and mythic orientation of the culture
that produced it, and understanding of prehistoric peoples, both
hunters and gatherers and the Hohokam, Anasazi, Mogollon, and
Fremont cultures, and the Pueblo, Navajo, and Apache Indians.
Culturally significant events such as the shift in prehistoric
times from spear and atlatl to the bow, or, in the historic period,
the introduction of the horse into the Southwest, are recorded in
rock art.
The illustrations--thirty-two color plates, nearly 250
photographs, and numerous line drawings--bring together in one
volume petroglyphs and rock paintings that are scattered over
thousands of miles of desert and mesa, giving the reader an
overview of Indian rock art that would be nearly impossible to
achieve in the field.
"Indian Rock Art of the Southwest" examines from an
archaeological perspective the rich legacy of stone drawings and
carvings preserved throughout the Southwest. Professional and
amateur archaeologists and historians, as well as the general
reader with an interest in Indian art, will find this volume a
valuable resource.
Believed to represent a king, the beautiful bronze head in the
British Museum is one of seventeen objects unearthed in 1938-9 at
the town of Ife in Nigeria. The stunning naturalism and
sophisticated craftsmanship of the objects challenged Western
perceptions of African art at the time, which were largely based
around abstract wooden figures. It was consequently assumed at
first that they must have been made by Europeans or under European
influence. In time, however, they came to be seen as wholly
African, probably dating from the twelfth to fourteenth centuries,
and representative of a hitherto unknown artistic tradition on that
continent. The bronze head from Ife is one of the most prized
objects in the British Museum's African collections. This book
tells its fascinating story, from its discovery to its reception
and exhibition in Britain, where it influenced and inspired several
major artists. The author also describes how the head has taken on
a new life and significance in its homeland, where images of it
have abounded since Nigeria declared independence from Britain in
1960.
Over the course of his career, artist Paul Dyck (1917-2006)
assembled more than 2,000 nineteenth-century artworks created by
the buffalo-hunting peoples of the Great Plains. Only with its
acquisition by the Plains Indian Museum at the Buffalo Bill Center
of the West has this legendary collection become available to the
general public. Plains Indian Buffalo Cultures allows readers, for
the first time, to experience the artistry and diversity of the
Paul Dyck Collection - and the cultures it represents. Richly
illustrated with more than 160 color photographs and historical
images, this book showcases a wide array of masterworks created by
members of the Crow, Pawnee, Lakota, Arapaho, Cheyenne, Shoshone,
Hidatsa, Mandan, Arikara, Dakota, Kiowa, Comanche, Blackfoot, Otoe,
Nez Perce, and other Native groups. Author Emma I. Hansen provides
an overview of Dyck's collection, analyzing its representations of
Native life and heritage alongside the artist-collector's desire to
assemble the finest examples of nineteenth-century Plains Indian
arts available to him. His collection invites discussion of Great
Plains warrior traditions, women's artistry, symbols of leadership,
and ceremonial arts and their enduring cultural importance for
Native communities. A foreword by Arthur Amiotte provides further
context regarding the collection's inception and its significance
for present-day Native scholars. From hide clothing, bear claw
necklaces, and shields to buffalo robes, tipis, and decorative
equipment made for prized horses, the artworks in the Paul Dyck
Collection provide a firsthand glimpse into the traditions,
adaptations, and innovations of Great Plains Indian cultures.
Patronized by royalty between the sixth and eighth centuries, the
monuments of Guatemala's ancient Maya city of Piedras Negras were
carved by sculptors with remarkable skills and virtuosity. Together
patrons and sculptors created monumental imagery in a manner unique
within the larger history of ancient Maya art by engaging public
viewers through illustrations of ceremonies focusing on family and
the feminine in royal agendas.
Flora Clancy's introduction contextualizes her work with other
studies and lays out her methodological framework. She then
discusses the known monuments of the city sequentially by reigns.
Individual rulers are characterized by a biography drawn from the
hieroglyphic texts and the icons or imagery of their monuments are
analyzed and discussed.
Although the monuments of Piedras Negras are acknowledged as
social, political, and cultural productions, Clancy also treats
them as works of art that at their best operate on transcendent
levels dissolving and overruling the contingencies of history and
cultural differences.
Following the publication of Art Brut du Japon, co-published in
2008 by the Collection de l'Art Brut and editions Infolio, this
catalogue presents pieces by twenty-five new Japanese artists from
different regions of Japan, whose works drawings, paintings,
photographs, sculptures, and textiles - are largely unpublished.
The authors explore the assimilation of Japanese Art Brut into the
larger culture from 2008 to the present. As they point out, whereas
the notion of mental handicap resides in aesthetic and sociological
criteria (these artists are self-taught, and often socially
marginalized misfits, draft dodgers, prisoners, psychiatric
patients, the elderly, etc. who create outside of the official art
system), the condition whether mental or physical is not a
criterion in itself. Accompanying an exhibition at Collection de
l'Art Brut, Lausanne from November 30, 2018 to April 28, 2019, this
catalogue of new Japanese works expands our understanding of Art
Brut in a contemporary albeit different cultural setting. Text in
English and French.
Two generations of Inuit artists challenging the parameters of
tradition.Kenojuak Ashevak shot to fame in 1970 when Canada Post
printed The Enchanted Owl,a print of a black-and-red plumed
nocturnal bird, on a postage stamp. She later became known as the
magic-marker-wielding "grandmother of Inuit art," famous for her
fluid graphic storytelling and her stunning depictions of wildlife.
She was a defining figure in Inuit art and one of the first
Indigenous artists to be embraced as a contemporary Canadian
artist.Ashevak's legacy inspired her nephew, Timootee (Tim)
Pitsiulak, to take up drawing at the Kinngait Studios. In his
relatively short career, he became a popular figure, known for
drawing animal figures with a hunter's precision and capturing the
technological presence of the South in Nunavut.Tunirrusiangit,
"their gifts" or "what they gave" in Inuktitut, celebrates the
achievements of two remarkable artists who challenged the
parameters of tradition while consistently articulating a
compelling vision of the Inuit world view. Published to coincide
with a major exhibition at the Art Gallery of Ontario, opening on
16 June and continuing until late August, Tunirrusiangit features
more than 60 reproductions of paintings, drawings, and documentary
photographs. Completing the book are essays by contemporary artists
and curators Jocelyn Piirainen, Anna Hudson, Georgiana Uhlyarik,
Koomuatuk Curley, Laakkuluk Williamson Bathory, and Taqralik
Partridge that address both the past and future of Inuit identity.
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Hemba
(Hardcover)
Luigi Spina, Contantine Petridis
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R1,694
R1,267
Discovery Miles 12 670
Save R427 (25%)
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Ships in 12 - 17 working days
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Expressing one of many Luba sub-styles, the tall, standing male
figures created by master carvers of the Hemba culture in
southeastern Congo since at least the mid-1800s arguably rank among
the noblest sculptural depictions of the human figure in
sub-Saharan Africa. With their serene gaze and meditative
expression, they exude a tranquility and dignity that befits these
idealised likenesses memorialising esteemed leaders of the past.
Infused with a life-force or vital energy, these spirit-invested
objects were able to communicate between the living and the dead.
Thanks to their inner power they had the capacity to impact the
material sphere by allowing the ancestors to positively influence
the well-being of their surviving relatives. In this publication,
through the perceptive lens of art photographer Luigi Spina, we
discover nine of the most accomplished Hemba creations whose
classical style has triggered comparisons with some kouroi
sculptures of ancient Greece. Spina's photographic interpretations
help us understand why these proportionally balanced and
symmetrically conceived ancestral figures have earned the
admiration of African art lovers around the world. These personal
readings of the beloved Hemba commemorative portraits also confirm
why these sensitive renderings of the human anatomy deserve
inclusion in the universal history of artistic creativity and a
place in Andre Malraux's 'Museum Without Walls'. Text in English
and French.
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