Dissertations / Theses on the topic 'Art africain et océanien'
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Schild, Tamara. "Stratégies de création de valeur dans une maison de ventes aux enchères : ethnographie d'un département d'art africain et océanien." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0187.
Since the mid-2000s, international auction houses Christie’s and Sotheby’s have focused on building a high-end market for African and Oceanic art at auction. In just a few years, they have become major players in this market. They introduced new standards for pricing, attracting a new clientele, and establishing a commercial agenda. This evolution was facilitated by the liberalization of the French auction market at the turn of the 21st century, which allowed them to enter this historic marketplace for African and Oceanic art. Additionally, the growing presence of modern art and contemporary art collectors in this niche market have provided cross-selling opportunities. In this context, this research investigates the main strategies implemented by the staff of an international auction house to increase the economic value and desirability of African and Oceanic artworks, and thus ensure the sustainability of this auction category. The study involved six months of participant observation of activities in the specialist department, expert interviews, and qualitative and quantitative analysis of 180 sales catalogs. Through a diachronic analysis of the department’s development since its inception in the mid-1970s, the study was able to highlight the role of three generations of specialists involved in the marketing of these arts at auction, and thus shed light on the valuation power of these little-studied intermediaries. In the second section, using the extended case study and the situational analysis methods developed by M. Gluckman and C. Mitchell, this work has revealed, from a synchronic point of view, the strategies of auction staff in the major stages of preparing an auction sale. In light of these results, the auction house emerges as a sphere of valuation structured by different vectors. The auction house is deeply marked by its aristocratic origins, which have brought ongoing hierarchy and exclusivity to both people and objects. It is also influenced by a "gambling logic" which remains controlled by a strong rationalization of the value chain. This rationalization seems to make it even more necessary to emphasize emotion and create a discourse of passion specific to the art world, in order to enchant the public
Seit Mitte der 2000er Jahre arbeiten die internationalen Auktionshäuser Christie’s und Sotheby’s am Aufbau eines High-End-Marktes für afrikanische und ozeanische Kunst. Innerhalb weniger Jahre sind sie zu den wichtigsten Akteuren in diesem Markt geworden. Sie haben neue Industriestandards, höhere Preise für bestimmte Werke und eine neue Kundschaft eingeführt. Diese Entwicklung wurde durch die Liberalisierung des französischen Auktionsmarktes zu Beginn des 21. Jahrhunderts begünstigt, wodurch sie diesen historischen Marktplatz erschließen konnten. Das Auftreten bedeutender Sammler moderner und zeitgenössischer Kunst in diesem Nischenmarkt hat Möglichkeiten für Querverkäufe geschaffen. Vor diesem Hintergrund untersucht die vorliegende Arbeit die wichtigsten Strategien, die von den Mitarbeitern eines internationalen Auktionshauses angewendet werden, um den ökonomischen Wert und die Begehrlichkeit der gehandelten Werke zu steigern und den Fortbestand dieser Auktionskategorie zu sichern. Die Forschung stützt sich auf eine sechsmonatige teilnehmende Beobachtung ihrer Tätigkeit, Experteninterviews sowie eine qualitative und quantitative Auswertung von 180 Auktionskatalogen. Durch eine diachrone Analyse der Entwicklung der Abteilung seit ihrer Gründung Mitte der 1970er Jahre wird die Rolle dreier Generationen von Spezialisten, die an der Vermarktung dieser Kunst beteiligt waren, hervorgehoben und so die Wertschöpfungsmacht dieses noch wenig erforschten Marktvermittlers beleuchtet. Im zweiten Teil der Arbeit werden anhand der von M. Gluckman und C. Mitchell entwickelten Methoden der erweiterten Fallstudie und der Situationsanalyse die Strategien dieser Akteure in den wichtigsten Phasen der Auktionsvorbereitung aus synchroner Sicht dargestellt. Im Lichte dieser Ergebnisse erweist sich das Auktionshaus als eine durch verschiedene Vektoren strukturierte Wertschöpfungssphäre. Zum einen ist das Auktionshaus von seinem aristokratischen Ursprung geprägt, der eine Hierarchisierung und Exklusivität sowohl der Personen als auch der Objekte mit sich bringt. Es wird aber auch von einer Logik des Gambling angetrieben, die durch eine starke Rationalisierung der Wertschöpfungskette abgesichert wird. Diese Rationalisierung macht es wiederum notwendig, auf einen Diskurs der Leidenschaft zurückzugreifen, der dem Kunstbereich eigen ist, um die Möglichkeit der Verzauberung des Publikums zu gewährleisten
Doyen, Audrey. "Les relations entre les musées d'ethnographie et les marchés de l'art africain et océanien en France, en Suisse et en Belgique : construire la valeur et s'approprier l'altérité." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA099/document.
This PhD thesis presents the valuation of ethnographic object through the prism of their circulation between two stakeholders : art markets and ethnographic museums. No scientific research has so far looked in depth at the relation between this two actors in the tribal art’s field, except to describe or criticise the specific case of the Musée du quai Branly-Jacques Chirac’s foundation.My research mobilising anthropology and museology is based on intensive fieldwork with galleries, auction houses and museums in Switzerland, France and Belgium between 2013 and 2017. The comprehensive analysis shows the territorial issues between this different stakeholders and highlights the increase in events both in museums and markets. My research also draws a portrait of the market, its functionning and its hierarchies and proposes a typology of the different relations and actors. The main objective was to understand the process of fixing an object’s value. In a market dominated by speculation and a lot of arbitrariness, I highlight that this value is intrinsically linked to the control of information. Finally, the analysis shows the « how-to-think » and processes developped by all the actors in the field to rationalise some of these speculative practices. I hope I have emphasised in this work the new forms of production, appropriation, consumption and the valorisation of otherness by our society today
Lim, Samuel. "L'art africain : systématicité et classification : exemple : la statuaire africaine." Paris 1, 1999. http://www.theses.fr/1999PA010634.
With very rare exceptions the analysis of African art has hardly progressed beyond the purely descriptive stage or that of simple generalities. In most cases, it has not sought in the least degree to constitute a problematic. Carl einstein was however a distinguished predecessor in this domain. And, to our knowledge, he still romains so, even if some of his views have today fallen into disuse. Carl Einstein's negerplastik appeared in leipniz, germany in 1915. It was a short work which in terms of ethnography ranks amongst the most vague and ambiguous exemples, even as it is aesthetically very important and trustworthy, because it puts clearly in evidence the masterful qualities of blac sculpture, to the extent that the author discovers to his great surprise responses or answers to cortain fundamental and crucial problems that then occupied the most penetrating and knowedgeable european artists. The essential aim of this art is not so much to describe, but rather to establish certain realities. This approach requires a turn from virtuosity in favor of the establishment of plastik connections between diverse parts of the work, independent of connections of a logical order : owing to this, the thing figured represents for itself a unity (a personage for instance, or whatever motif has been grasped as an isolable whole). Given that one of the major objectives of this art was the coherent and lively organisation of forms, either liason by analogy or contrast their balance and subjection to a rythm, black sculpture situated itself on a plane morphologic neughbowring cubism as it was then known
Bassene, Reine. "L'art contemporain africain : enjeux et perspectives face à l'émergence du marché de l'art globalisé." Thesis, Nice, 2013. http://www.theses.fr/2013NICE2046/document.
The contemporary African art has made its entry into the globalized system, first through artistic exhibitions then in the auction houses. Since the 1960s’ a new vision of contemporary African art has emerged with the postcolonial discourse. These ideas have led to a different reading of the contemporary African aesthetic with the support of some curators. Meanwhile, a vision of the “authentic” artist remains in many European and American exhibitions. African artist give an image that can sometimes seem fossilized The contemporary African artists today find themselves in a situation, which can be source of conflicts. They can get close to the artistic centers pulse which means the Western art market or stay on the African continent and try by different initiatives to include a market which is still outlying areas like western countriesThe other areas however gradually mutate into centers pulse but remain modest for the time being. With the advent of new technologies, opportunities exist for artists from the third world in terms of use but also as media. Their application pushes the reflection, and then attempt to understand the challenges that lies ahead for contemporary African art and perspectives that will glimpse through the paradigm of postcolonial studies and through the advent of technologies of information and communication. Is it possible to suggest new approaches to promote the dissemination of contemporary African art through socio-technical devices available but also through information management? The first part, this thesis attempts to show the diversity of the arts of Africa to understand it’s complexity today. Then by analyzing the relationship it has with the West, to understand it’s history.The second part tries to understand the identity of the African artist but also its positioning and initiatives that are carried out on the continent will better understand the challenges and opportunities.The third part will give a point of view overall which today governs contemporary African art
Busca, Joëlle. "L'art contemporain africain : entre colonialisme, postcolonialisme et autres illusionnismes." Paris 1, 2000. http://www.theses.fr/2000PA010575.
Souvignet, Florent. "L' art contemporain africain aux Etats-Unis : vers une anthropologie des marges." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0604.
The exhibition "Magiciens de la terre", presented in Paris in 1989, is often viewed as a strong institutional moment towards recent non-Western visual productions. It marks the start of a movement towards opening European and North American museum spaces to the world and announces the era of the globalization. In the aftermath of this event, the notion of contemporary African art developed with the appearance of th key actors including Jean Pigozzi, andré Magnin or Okwui Enwezor. The concept of Contemporary African Art was hotly debated in art and academia alike, attracting substantial attention before its object was defined. Using the semantic plasticity of the three terms, "art", contemporary" and "african" as a potential departure, this dissertation analyzes the emergence of Contemporary African Art not as a category but as a field that encompasses diverse practices and discourses. This dissertation presents an ethnography of the actors involved in the promotion, presentation, and critique of this notion, focused on the galleries, private foundations, and museums at heartof the contemporary art world in New York's Chelsea neighborhoods question of how an artist might lose his "African" denomination and extract himself from the designation "contemporary African artist" to become an unmarked" contemporary artist" is one of its main theme result of four years of ethnographic research in the united states, this text questions the possible permanancy of primitivism and the modalities of its transformation
Viellard-Cazaumayou, Sophie. "La circulation des objets océaniens en Occident : contribution à une analyse anthropologique du marché de l'art primitif en France." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0190.
Until recently, the anthropology research hasn't paid much attention to the tribal art market. Yet the study enriches, not only the knowledge of the french collections but also grasping the process of the value from the "curios" to art. Furthermore, we can see a different approach of exchange system. South Sea objets circulating in the Occident are useful for the understanding of tha market specificity. The growing media coverage in the 20 th century showed the emerging of these goods in the art market and especially in the auctions. The speeches of the actors specializing in that field also bring a multitude of informations to grasp the commercial manipulation of these items. This is discernible in the multiplication of references linked to the authenticity and rarefaction of the object. In addition, these also bring the collectors to keep the object as a sacred thing. However, item which became inalienable in Occident is sometimes underlying goods of oceanian identity and culture. This increases the problem of legitimacy of the possession and restitution of this object
Vincent, Cédric. "Frédéric Bruly Bouabré : un prophète africain dans l'art contemporain." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0460.
Frédéric Bruly Bouabré (Côte d'Ivoire) is one of the most emblematic figures to have emerged on the international arts scene over the past twenty years. He is also one of the scene's more controversial figures, due to a set of unpredictable circumstances that saw him move from the status of failed prophet to that of accomplished artist. Discussions of his work commonly lack a serious historical or biographical grounding, resulting in a picture of him as a sweetly naïve character. As a result, his oeuvre is hailed by some and discredited by others less for its inherent complexity or internat contradictions than on the grounds of a wholly invented simplicity. The study aims to explain why and how Bouabré has emerged as a point of reference. To do so, it privileges notions of co-production and translation over ideas of the artist as a self-taught individual driven by vocation alone. In the process, it posits a dialectical relationship between Bouabré's dual identities as prophet and artist. Close attention to how he has been shaped by interactions with others and to howthese interactions have played out over time draws attention to the dynamics of his prophetism. This, in turn, highlights a key aspect of his identity that has tended to be down. Bouabré constitutes a node, a key focus, to understand the spaces of tension and resistance that thicken the realm of contemporary art and complexify the relations it entertains with artists hailing from its shadowlands. Notably, it allows us to think through the emergence of contemporary African art not as a simply chronological or temporal category, but also, and more importantly,as an aesthetic, critical and normative category
Pensa, Iolanda. "La Biennale de Dakar comme projet de coopération et de développement." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0456.
The study observes the international art system from Dak'Art, the Senegalese contemporary African art biennale; in particular it explores the relationship between visual arts, spatial dynamics, cultural policies and the market; it is based on the keywords cooperation, development, territory and representation. The research analyses the international phenomena of bienniel exhibitions, the ones in Africa, the history of the Dakar biennale, contemporary art and its landscape, contemporary African art historiography, the network of Dak'Art and the way contemporary productions are structured as "projects". It appears clearly that culture is more and more often structured as "projects"; contemporary African art is a brand for the import-export of cultural goods; the network is the central resource of a cultural event and the wider and the more fragmented this network is, the more difficult it is to satisfy it; the geography of cultural events is defined by its international links; cultural events generate landscapes, a combination and interrelation of natural and human factors. The contemporary art system observed from the biennial art exhibition of Dakar appears strongly influenced by the funding organizations, and closely related to cultural policies and to the market, even though it doesn't necessarily imply the selling of artworks within a gallery
Pandi, Joseph. "La découverte de l'art negro-africain : contribution d'un homme de lettres, Blaise Cendrars." Aix-Marseille 1, 1992. http://www.theses.fr/1993AIX10023.
Seck, Momar. "Appropriation d'objets et de matériaux de récupération dans l'art sénégalais contemporain." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00748257.
Biro, Yaëlle. "Transformation de l'objet ethnographique africain en "objet d'art" : circulation, commerce et diffusion des oeuvres africaines en Europe Occidentale et aux États-Unis, des années 1900 aux années 1920." Paris 1, 2010. http://www.theses.fr/2010PA010600.
Gilsoul, Sarah. "Etirer la communauté artistique au monde: une sociologie de la mondialisation artistique :enquêtes sur les controverses autour de l' "art contemporain africain"." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209135.
Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished
Cuomo, Anna. "La fabrique d'un rap africain : création, engagement et cosmopolitisme à Ouagadougou, Burkina Faso." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH103.
This thesis focuses on the world of rap in Ouagadougou, capital of Burkina Faso. It examines the conditions of access to recognition for Burkinabe rappers engaged in a professional career, both locally and internationally. Drawing on two years of multi-sited ethnography centred on the practices and “ways of doing”, promoting, performing, and disseminating rap, I show how these artists choose to “manufacture” an authentic and exportable African rap from a consciousness permanently connected to a global world, both lived and/or imagined. Living in a country where the music industry is underdeveloped, Burkinabe rappers have recourse to various sources of funding (Ministry of Culture, European Institutions, NGOs, local private support) that condition the creative processes. Authenticity is a relational notion, shaped by power relations: on the one hand, rappers become recognized locally for their ability to appropriate a globalized modernity, and on the other, they gain international recognition through their propensity to embody the “Burkinabe nation”, understood as an imagined community. This thesis ultimately develops a reflection on the category of “engaged artist”; I analyse the processes of political subjectivation among Burkinabe rappers, often considered to be spokespersons for the “conscious” and rebellious youth of the continent. They inscribe their endeavour within a moral space built by the Burkinabe postcolonial state, seeking visibility abroad in order to exist individually in the world, while gaining the status of representatives of a nation
Beaujean, Gaëlle. "L’ Art de cour d’Abomey : le sens des objets." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0666.
Designed as anthropology of the object, this thesis addresses the royal artifacts of Abomey, ancient capital of the pre-colonial kingdom of Dahomey (current day Benin). First the role of this art at court will be considered within the political, religious and social contexts of the period from 1625 to 1890. Here the military organization of Dahomey will also be central. In the eighteenth century the kingdom seized the port of Ouidah where the European slave trade to America was already established. Purveyor of prisoners and agricultural resources, the king instituted a system of exchanges and visits to court for these trading partners. The impact these contacts left on the royal court will therefore be explored. Oral, written and iconographic sources from regalia to the vaudou images will form the first body of objects from the court. Travel literature also reveals what impressions the exhibition of this royal art made on an uninitiated public. On the partition of Africa after the Berlin Conference of 1885, France declared war on the kingdom that it then conquered in 1894. The French military then seized the collection of royal objects from their own command between 1892 and 1894. This war booty supplemented by pre-colonial royal gifts, collections of the 1930s and the art still present in the court of Abomey will compose a second group of objects under study. The transformations of use, value and place of these objects since the fall of the kingdom to the present day will then be analyzed. In museums or in private collections around the world, this research identifies the value systems and the multiple meanings of this court art from conception to its current location
Thauvin-Chapot, Arielle. "La Folie dans les romans africains d'expression française : un espace de désordre et de transgression." Limoges, 1995. http://www.theses.fr/1995LIMO0508.
French written african novels produce a lot of madmen. In fact, madness here, is a words made madness madness proceeds of the whole construction of the novel because the madman produces a structural desorder in the novel. Desorder and madness are always associated to build a text in which the reader is confronted to non-sense. African novelists while showing the adventure of madness, bring many questions about the words and their relation to the world
Weiss, Gaëlle. "Création africaine et mondialisation : la collection Lebaudy-Griaule : quel rapport à la création ?" Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG063.
Through the example of Lebaudy-Griaule’s collection of the University of Strasbourg, this research tries to answer, according to an interdisciplinary approach, to interrogations related to the evolution of African creation, in our globalized context, and, particularly, in Burkina Faso, cultural area determined by the origin of the masks a-dunε koromba of our corpus. The first part consists of a historical exploitation of the collection to understand the conditions of collecting artifacts and the new values which they were invested by "decontextualization". The second part is the opportunity to document the artifacts of our corpus and analyze the evolution of traditional creation in situ. The third part focuses on the relationship between contemporary art and traditional African creation in the era of globalization
Cakpo, Érick. "Art chrétien en pays de mission : la sculpture d'inspiration chrétienne au Bénin, XVIIe-XXIe siècles." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAK011.
Papal texts such as Maximum Illud (1919) by Benedict XV or Rerum Ecclesiae (1926) by Pius XI show that the interwar period represented a watershed in missiological thought which gave a new impetus to missions. Hence a new strategy concerning Christian art in “mission countries” was adopted. Because it had beforehand been centred on Europe, the missionaries’ iconographical policy then consisted in creating a form of sacred art which fitted the various cultural characteristics of “mission countries” better. Armed with these tendencies and above all encouraged by the fact that local art could give noble expressions to Christian thought, the missionaries of “La Société des Missions Africaines” worked for the emergence of Christian art in Benin. Christian art in Benin is highly distinctive and the collections of this country boast a significant number of objects of Christian craftsmanship which deserve a thorough research work. Thus, as well as putting an iconographical corpus together, this thesis will describe the background of the works, examine their various functions, and analyse their successive paradigms which correspond to the new missiological perspective: inculturation
Tchibozo, Romuald. "L' art et l'arbitraire une étude de la réception de l'art africain contemporain en occident, le cas allemand de 1950 à nos jours /." [S.l. : s.n.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?idn=97257901X.
Benezech, Anne-Marie. "L'Art des Kouyou-Mbochi de la République populaire du Congo : tradition artistique et histoire : étude de cas en Afrique équatoriale." Paris 1, 1990. http://www.theses.fr/1990PA010591.
Noukpo, Tchénando Patrick. "Les masques africains : des patrimoines identitaires dans la diversité culturelle entre espaces profane et sacré au Bénin." Thesis, Université de Lorraine, 2020. http://www.theses.fr/2020LORR0275.
This thesis is aimed to deal with the sociology of expertise in the african mask cultural mediation. In Benin country, it is observable that museums and performing arts do not exhibit certain categories of masks including égoungoun and abikou, while they show some others, zangbéto and guèlèdè in this case. This arouses attention, insomuch as in Porto-Novo, a city where a plurality of masks’ sanctuaries is noticed, the ethnographic museum paradoxically uses drawings to present the égoungoun and the zangbéto which on the other hand, are physically seen in exhibitions in western countries. These masks belong to two large cultural areas (adja-tado and yorouba-nago) densely present in three west african countries : Benin, Nigeria and Togo. This geographic area, but especially southern and central Benin will serve as framework for our study. It attempts to understand the sociological constraints unfavorable to some forms of mask exposure in beninese territory and whether the concerned populations can adopt a noetic openness approach and dialogue with other cultures. By doing field surveys with varied public made up of intellectuals, dignitaries of mask societies, political and adminitrative officials, religious authorities, cultural mediators, ritual traditions insiders and ordinary people that we deem, representative of the population to reveal the true faces of current popular beliefs, we hope we’ll provide social sciences with a first definition and classification of means to popularize the african mask, in a globalizing world cultural environment
Ndiaye, El Hadji Malick. "Arts contemporains africains et enjeux du débat critique postcolonial : cartographies artistiques et discursives entre Paris et Dakar (1966-2006)." Rennes 2, 2011. http://www.theses.fr/2011REN20018.
A partial cultural history of African artistic modernities allows to show that they are not iconoclastic. The specificities engendered by an history which is object-based to define the hierarchy established between the images produced within and without the Western cultural space. The history of art of the 1990s saw a paradigmatic change taking place with the groundbreaking exhibition Magiciens de la Terre (1989), developments in cultural politics and the intense sequence of biennales and other mega-events. The artistic relationship between Center and Periphery shifted from an asymmetric internationalism towards the cosmopolitanism represented by the exhibition Africa Remix (2005). The relationship between cultural spaces and geographic borders progressively lost its significance, and was replaced by networks of artists from different geographic backgrounds. At the center of these new cultural geopolitics, the importance and the possible roles of the curator are paralleled by the border-crossing process of artists and artworks, resulting in the figure of a curator who is an agent of transfer and transmutation, and whose actions operate within cultures more than within canons, as demonstrated by the practice of Okwui Enwezor. At this moment it is important to mark both the break and the affinity created between a generation of cultural actors of the African diaspora, for whom critical militancy is embodied by curatorial practice, and the senghorian generation for whom this critical militancy is embodied by art criticism. The changes taking place within the artistic and discursive geopolitics allow to reveal the artwork’s evolution through the variations of its display. From an iconographical standpoint, it is important to explore the relationships created between modernity, nationalism and knowledge which, as suggested by Georges Matoré, will allow to emphasize the role of the image as an agent of memory and nostalgia
BEREAU, Stéphanie. "Modalités de valorisation de l'art africain en occident dans la deuxième moitié du XXe siècle : étude critique des conditions historiques de réception et de valorisation del'art africain en occindent, dans les musées d'histoire naturelle." Doctoral thesis, 2006. http://hdl.handle.net/1814/6911.
Examining Board: Prof. Pascaline Winand, Institut Universitaire Européen, Florence (Superviseur) ; Prof. Bogumil Jewsiewicki, Université Laval, Québec (Co-directeur) ; Prof. Antonella Romano, Institut Universitaire Européen, Florence ; Prof. Laurick Zerbini, Université Lumière Lyon 2, Lyon
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
En 1905, après une après-midi de peinture plutôt éprouvante sous la chaleur de la campagne parisienne, Maurice de Vlaminck s’arrête pour se rafraîchir dans un bistro d’Argenteuil. Sur le bar qui lui fait face, perdus entre les bouteilles d’alcool, trois objets africains attirent son attention : deux pièces Yoruba du Dahomey et une pièce de Côte-d’Ivoire. En échange d’une tournée générale, le propriétaire accepte de les lui céder. C’est en les montrant à un ami de son père venu visiter son atelier en mars 1906, qu’il obtiendra de ce dernier deux autres statues africaines, ainsi qu’un masque blanchâtre assez quelconque, qui pourtant fascina son alter ego fauviste, le peintre André Derain, dès qu’il le vit. Pressé par des soucis financiers, Vlaminck repoussera une première offre d’achat de son ami pour mieux accepter celle qu’il lui fit quelques jours plus tard. Début avril 1906, pour 50 francs, Derain était entré en possession de son célèbre masque Fang1 et l’accrochait aux murs de son atelier de la rue Tourlaque.
L'Heureux, Marie-Hélène. "La négritude et l'esthétique de Léopold Sédar Senghor dans les oeuvres de l'École de Dakar." Mémoire, 2009. http://www.archipel.uqam.ca/2162/1/M10943.pdf.
Tchibozo, Romuald [Verfasser]. "L' art et l'arbitraire : une étude de la réception de l'art africain contemporain en occident, le cas allemand de 1950 à nos jours / par: Romuald Tchibozo." 2003. http://d-nb.info/97257901X/34.