Unseen Art Scene (mirror)

  Frank McEwen Born: April 19, 1907 Died: January 15, 1994 Written for the Catalog of the opening of the Rhodes National Gallery by Frank McEwen Salisbury, Rhodesia, July, 1957 “Triumph of First Congress on African Culture ” London Times, 1962 “The Dark Gift” Time Magazine, Sept. 28, 1962 A trip to Africa: Frank McEwen, Rhodesia and Shona Art , 1968 by Adele Aldridge Obituary: The London Times – January 17, 1994 “Frank McEwen,OBE, Artist ,teacher, administrator, and the founding Director of the National Gallery of Rhodesia (now Zimbabwe) died in Illfracombe, Devon, on January 15, aged 86. He was born on April 19th, 1907.” Bernard Matemera | Sculptor at work, Rhodesia – August, 1968 photo by Adele Aldridge If ever a book is compiled of the good deeds of the white man for the black in the twilight days of colonialism, Frank McEwen’s name should be inscribed there – though his is a story beyond race and skin color. His life was devoted to the belief that the highest spiritual val

Brighton Sango   Portrait of Brighton Sango Brighton Sango was born in 1958 in Guruve, Northern Zimbabwe. He remained here, in the beautiful rural surroundings of his home. Considered to be an important member of the Second Generation because he was the first to break from traditional sculpting within the Shona Community. Thus, his sculpture was a source of interesting debate as to the future of Zimbabwean sculpture. Brighton’s career as a sculptor began at the art village of Tengenenge. An introspective individual, Brighton felt overwhelmed by the distraction created by the multitude of sculptors in the village. Therefore, his length of stay was cut short as he decided leaving would help him create his own style. His sojourn at Tengenenge was less than a year. Once Brighton left the village his individual style began to emerge. While at Tengenenge he was learning under great sculptors like Bernard Matamera. Like the dawning of many great arti

Songye Kifwebe Mask | Pollitt Collection Tribe:               Songye Origin:             D.R.Congo Materials:       Wood, Pigment   Size:                   45 cm   high  x 22 cm w ide Age:                 Mid - Later20th Century Est:                  £200,000 to 350,000 Part of the POLLITT COLLECTION of African Art Songye Kifwebe Male mask  from Democratic Republic of Congo formally Zaire.  A stunning styled example of a mid 20th Century Songye Kifwebe male mask with a large crest and protruding eyes and mouth. Kifwebe masks were made for the Bwadi Bwa Kifwebe association, a type of policing society that provided a means of controlling social behaviour and neutralizing disruptive elements within the group. These masks appeared at the installation and death of a chief, and at the initiation rites of young men as well as a whole range of occasions that included punishments, warfare and public works. There is great variety and symbolism within the various Kifwebe masks. More than thir

A Bakuba woman weaving a textile Kuba Textiles Kuba textiles are unique in the Democratic Republic of the Congo , formerly Zaire , for their elaboration and complexity of design and surface decoration. Most textiles are a variation on rectangular or square pieces of woven palm leaf fiber enhanced by geometric designs executed in linear embroidery and other stitches, which are cut to form pile surfaces resembling velvet. Women are responsible for transforming raffia cloth into various forms of textiles, including ceremonial skirts, ‘velvet’ tribute cloths, headdresses and basketry . Raffia Cloth In Kuba culture, men are responsible for raffia palm cultivation and the weaving of raffia cloth . Several types of raffia cloth are produced for different purposes, the most common form of which is a plain woven cloth that is used as the foundation for decorated textile production. Men produce the cloth on inclined, single-heddle looms and then use it to make their clothing and

Source: Amazon This is the true story of a man who cured himself of a near-fatal cancer after conventional medicine had mutilated and then abandoned him. He spent the next thirty years helping others with the disease. In the struggle to keep his clinic open, he faced raids and robberies, a near-fatal beating, a kidnapping, and a prison sentence many called justice gone wrong. The details of his therapies, and the history and vicissitudes of the non-traditional health care movement that his life personifies, are woven throughout his story. While politicians debate how to impose Modern Medicine on us all, this story needs to be retold. Review Jimmy Keller has helped hundreds of people, a truly great and compassionate human being who has been persecuted, beaten near death and attacked for 20 some years because he healed cancer naturally. What an incredible irony. Millions of Americans have died from cancer in the last 20 years, yet here we have a man who can put about 90% of

Joram Mariga | 1927 - 2000 Source: www.zimsculpt.com The career of Joram Mariga is inextricably linked with the beginning of Zimbabwean stone sculpture movement. Born of artistic parents in 1927, Mariga used to watch his father and brother carve wood, and his mother make open-fired  ceramics. Experimenting with wood carving at first, he moved onto soft stones such as Steatite, but later discovered colourful, harder stones with which to work and became committed to this new material. Others, on seeing his work, asked to be taught the skill and his influence gradually spread. It was essential to Mariga in the early days, to return to close contact with Shona customs and the significance of the natural world. His knowledge of the early days ensures that he remains a powerful example to artists today, amongst whom he is regarded with affection and respect, being referred to as the Father of Zimbabwe Sculpture. McEwan stated ‘The sculptural expansion developed in only 34 years.  To

  After watching the Egyptians let us move into our present Modern with Gustav Klimt and Egon Schiele Contributions by Alessandra Comini, James T. Demetrion, Johannes Dobai, and Thomas M. Messer Published in 1965 124 pages Softcover This publication brings together the work of two Austrian artists—Gustav Klimt and his former student Egon Schiele. Although independent in their style and depiction of their subject, common threads are manifest in the oeuvre of both artists. The two share a certain anxiety and preoccupation with the erotic, yet stylistically Klimt's work is formally ordered and decorative while Schiele's work is unforgiving in its brutality. This exhibition focuses specifically on the output produced late within Klimt's career, while approaching Schiele's work from a retrospective standpoint. The catalogue discusses each artist separately and includes a chronology, essay, and an illustrated exhibiti