Modular paintings are compositions divided into several parts that have an inherent beauty and their inherent elegance and uniqueness. They serve as a magnificent addition to the interior and an elegant addition to any design solution. Thanks to them, the wall will acquire an inimitable character, favorably emphasizing the stylization of the room.

Unbridled African style

Buy from us modular paintings of Africa, the look of which transports you to hot spaces not embraced by civilization, the owners and masters of which are nature and animals, and not humans. Also presented are paintings of “sexy Africa”, for true connoisseurs. A wide variety of modular paintings on the theme of Africa in the catalog of our online store.

Thanks to the unusual nature of modular compositions, they are perfect for the interior of a living room or bedroom; they will look great on the wall, attracting the eye and adding a bright drop of another continent to everyday life.

Price range

You can view the catalog of paintings or make a purchase to order. Modular compositions in our online store are from the manufacturer and can be purchased cheaply if you place an order in bulk, thereby transforming the entire interior of the house.
The price of the paintings varies depending on the number of modules and the material used, but the prices are fair and such a purchase will be financially and aesthetically beneficial.

Subtlety of the East

We are pleased to offer images filled with the spirit of the East, purity and wisdom. Speaking separately about quality, it is worth emphasizing the durable material and clarity of the image, which will not be washed away at a distance, but will only give the room a subtle touch of the eastern country.

Due to the modules (canvases), the number of which is most often from 3 to 5, it is possible to place the picture not as a single canvas, but to move each part apart at an equal distance, which will be an unusual design solution and will not only attract the eye, but also surprise with its geometry and execution.

Advantages of purchasing modular paintings in our online store:

• High quality;
• Price indicators are low, and when purchased in bulk they are reduced even more;
• Large selection of compositions decorated in paintings;
• Different number of canvases;
• Possibility of purchasing to order;
• Catalog of proposed paintings.

Modular paintings have firmly established themselves in the interiors of houses. And this is not surprising, because each of them is a work of art that does not require spending a fabulous fortune. Thanks to all kinds of compositions, you can choose a landscape or other image that will fascinate and delight you.

African art - an overview of countries and cultures of individual peoples

African Art

Art of Africa (African art) is a term generally applied to the art of sub-Saharan Africa. Often casual observers tend to generalize about "traditional" African art, but the continent is full of people, communities and civilizations, each with its own unique visual culture. This definition may also include art of the African diaspora, such as African American art. Despite this diversity, there are some unifying artistic themes when considering the totality of visual culture on the African continent. Applying African style in the interior is quite easy. Below are some important characteristics of African masks and figurines, analogues of which can be purchased at the Afroart gallery.

The term "Art of Africa" ​​does not generally include the art of areas of North Africa along the Mediterranean coast, as these areas have long been part of different traditions. For more than a thousand years, art in these fields has been an integral part of Islamic art, albeit with many special characteristics. Ethiopia's art, with a long Christian tradition, is also different from most countries in Africa, where traditional African religions (Islam is common in the north) dominated until relatively recently.

Historically, African sculpture is largely made from wood and other natural materials that do not survive from earlier periods than, at best, a few centuries ago; older ceramic figures are found in many areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a huge variety of styles, often varying within the same conditions of origin, depending on the way the object was used, but broad regional similarities are obvious. The sculpture is most common among groups of sedentary farmers in the Niger and Congo river valleys in West Africa. Direct sculptures of deities are relatively rare, but masks are especially often created for religious ceremonies (rituals). African masks influenced European art of modernism, which was inspired by their lack of naturalism. Since the late 19th century there has been an increase in the number of examples of African art in Western collections, the best of which are now exhibited in renowned museums and galleries.

West African cultures later developed bronze casting, which was used to make relief sculptures and naturalistic heads of rulers, such as the famous Benin Bronze, to decorate palaces. Gold figured weights are a type of small metal sculpture produced during the period 1400-1900; some appear to depict proverbs, introducing a narrative element rare in African sculpture; the royal regalia included impressive gold sculptural elements. Many West African figurines are used in religious rituals and often contain details needed for ritual sacrifices. The Mande-speaking peoples of the same region make objects from wood with wide, flat surfaces and cylindrical arms and legs. In Central Africa, however, the main distinguishing characteristics are heart-shaped faces, curved inward, with patterns of circles and dots.

East Africa, where there is no abundance of wood for carving, is famous for Tinga-Tinga paintings and Makonde sculptures. There is also a tradition of textile art production. The Great Zimbabwe culture left behind buildings more impressive than sculptures, but the eight Zimbabwe soapstone birds appear to have been of particular significance, and were probably mounted on the monoliths. Contemporary Zimbabwean soapstone sculptors have achieved significant success on the international stage. The oldest known South African clay figures date from between 400 and 600 AD. e., they have cylindrical heads with a mixture of human and animal features.

Fundamental Elements of African Art

Artistic creativity or expressive individualism: In West African art in particular, there is a widespread emphasis on expressive individualism, while at the same time being influenced by the work of predecessors. An example is the artistic creativity of the Dan people, as well as their existence in the West African diaspora.

Emphasis on the human figure: The human figure has always been the primary subject for much African art, and this emphasis has even influenced some European traditions. For example, in the fifteenth century, Portugal traded with the Sapi people near the Ivory Coast in West Africa, who created elaborate ivory salt shakers that combined features of African and European art, primarily through the addition of the human figure (the human figure is typically , did not appear in Portuguese salt shakers). The human figure may symbolize the living or the dead, represent rulers, dancers, or members of various professions such as drummers or hunters, or may even be an anthropomorphic representation of a god or have another votive function. Another common theme is human-animal hybrid.

Visual Abstraction: African art tends to favor visual abstraction over naturalistic representation. The reason is that many African works generalize stylistic norms. Ancient Egyptian art, which is generally considered to be naturalistically descriptive, uses highly abstract and uniform visual patterns, especially in painting, as well as various colors to represent the qualities and characteristics of the being depicted.

Emphasis on sculpture: African artists tend to prefer three-dimensional works of art to two-dimensional works. Even many African paintings or textiles should feel three-dimensional. House painting is often seen as a continuous design wrapped around the house, forcing the viewer to walk around to experience it to the fullest; while decorated fabrics are worn as decorative or ceremonial clothing, turning the wearer into a living sculpture. Unlike the static form of traditional Western sculpture, African art depicts dynamism, a readiness to move.

Emphasis on the art of action: An extension of the utilitarianism and three-dimensionality of traditional African art is the fact that much of it is created to be used in the context of action rather than static art. For example, traditional African masks and costumes are very often used in communal, ceremonial contexts where they are "danced". Most societies in Africa have names for their masks, but this one name includes not only the mask itself, but also its meaning, the dance associated with it, and the spirits that reside within it. African thinking does not separate one from the other.

Non-linear scaling: Often a small part of an African artistic composition looks similar to a larger part, like diamonds at different scales in Kasai patterns. Louis Senghor, Senegal's first president, called this "dynamic symmetry." William Fagg, a British art historian, compared it to biologist D'Arcy Thompson's logarithmic representation of natural growth. More recently, it has been described in terms of fractal geometry.

The scope of African art

Until recently, the designation "African" usually applied only to the art of "Black Africa", the peoples living in sub-Saharan Africa. The non-black peoples of North Africa, the population of the Horn of Africa (Somalia, Ethiopia), as well as the art of Ancient Egypt, as a rule, were not included in the concept of African art.

Recently, however, there has been a movement among African art historians and other scholars to include the visual culture of these areas, since they are all essentially within the geographical boundaries of the African continent.

The idea is that by including all African peoples and their visual culture in African art, lay people will gain a deeper understanding of the cultural diversity of the continent. Since there was often a merging of traditional African, Islamic, and Mediterranean cultures, scholars found that it made little sense to draw clear divisions between Muslim regions, ancient Egypt, the Mediterranean, and indigenous black African societies.

Finally, the art of the African diaspora in Brazil, the Caribbean, and the southeastern United States has also begun to be included in the study of African art. The combination of art with foreign influences hides the lack of indigenous artistic merit, especially in the period before the appearance on the continent of civilization brought from cultures with a longer history of development.

African art - materials

African art takes many forms and is made from a variety of materials. Jewelry is a popular art form used to denote rank, group membership, or purely for aesthetics. African jewelry is made from materials as varied as tiger's eye, hematite, sisal, coconut shell, beads and ebony. Sculptures may be wooden, ceramic, or carved stone, like the famous Shona sculptures, and decorated or sculpted pottery comes from many regions. There are various forms of textiles including kitenj, bogolan and kent cloth. Mosaics made from butterfly wings or colored sand are popular in West Africa.

History of African art

The origins of African art lie long before recorded history. African Sahara rock art in Niger contains images dating back more than 6,000 years. Along with sub-Saharan Africa, Western cultural art, ancient Egyptian paintings and artifacts, and indigenous southern crafts have also made major contributions to African art. Often, while depicting the abundance of natural surroundings, the art was reduced to abstract interpretations of animals, plant life, or natural patterns and shapes. The Nubian kingdom of Kush in modern Sudan was in close and often hostile contact with Egypt and produced monumental sculpture largely derived from styles that were not leading in the north. In West Africa, the earliest known sculptures come from the Nok culture, which flourished in what is now Nigeria between 500 BC. e. and 500 AD e. with clay figurines, usually with elongated bodies and angular shapes.

More sophisticated art techniques were developed in sub-Saharan Africa around the 10th century, some of the most notable achievements include the bronze works of Igbo-Ukwu and the pottery and metalwork of Ile Ife. Bronze and copper castings, often decorated with ivory and precious stones, became very prestigious in much of West Africa, sometimes limited to the work of court artisans, and were identified with royalty, like the Benin Bronze.

Influence on Western art

Westerners have long considered African art to be “primitive.” The term carries with it negative connotations of underdevelopment and poverty. Colonization and the slave trade in Africa in the nineteenth century established Western opinion in the belief that African art lacked technical capabilities due to low socioeconomic status.

At the beginning of the twentieth century, artists such as Picasso, Matisse, Vincent Van Gogh, Paul Gauguin and Modigliani were introduced to and inspired by African art. In a situation where the established avant-garde resisted the restrictions imposed by the service of the visual world, African art demonstrated the power of highly organized forms produced not only by the gift of sight, but also, and often above all, by the faculty of imagination, emotion, mystical and religious experience. These artists saw in African art formal perfection and sophistication combined with phenomenal expressive power. The study and response to African art by artists in the early twentieth century contributed to an explosion of interest in abstraction, the organization and reorganization of forms, and the exploration of emotional and psychological realms hitherto unseen in Western art. Through these means the status of fine art was changed. Art has ceased to be simply and primarily aesthetic, but has also become a true vehicle for philosophical and intellectual discourse and therefore more truly and deeply aesthetic than ever before.

Influence on Western architecture

European architecture was heavily influenced by African art. Pioneers such as Antonio Sant'Elia, Le Corbusier, Pier Luigi Nervi, Theo van Desburg and Erich Mendelssohn were also sculptors and painters. Futurist, rationalist and expressionist architecture discovered a new repertoire of primary symbols in Africa; at the formal level, space is now composed of singular forms that relate not only to human proportions and scale, but also to his psychology; surfaces are modeled with geometric patterns. During the 1950s, European architects transformed buildings into large-scale sculptures, replacing unnecessary decoration (so criticized by Adolf Loos), by integrating textured frescoes and large bas-reliefs on the walls. During the 1960s, African Art influenced Brutalism, both in language and symbolism, especially in the late Le Corbusier, Oscar Niemeyer and Paul Rudolph. John Lautner's powerful work is reminiscent of Yoruba artifacts; Patricio Pouchulu's sensual designs honor the wooden sculptures of the Dogon and Baule. Unlike Europe, African art never established boundaries between body art, painting, sculpture and architecture; thanks to this, Western architects can now branch out into different artistic expressions.

Traditional art

Traditional art describes the most popular and studied forms of African art that are typically found in museum collections. It is more correct to create an African style in the interior with the help of just such items. Wooden masks depicting humans, animals or mythical creatures are one of the most commonly seen art forms in West Africa. In the original context, ritual masks are used for celebrations, initiations, harvesting and preparation for war. The masks are worn by the chosen or initiated dancer. During the ceremony, the dancer enters a deep trance and in this state he “communicates” with his ancestors. Masks can be worn in three different ways: vertically, covering the face like helmets, covering the entire head, and also as a crest over the head, which is usually covered with material, as part of a camouflage. African masks often represent spirits, and the spirits of ancestors are believed to possess those who wear them. Most African masks are made of wood and can be decorated with ivory, animal hair, plant fibers (such as raffia), pigments (like kaolin), stones and semi-precious stones.

The statues, usually made of wood or ivory, are often inlaid with cowrie shells, metal elements and spikes. Decorative clothing is also common and includes another significant part of African art. One of the most intricate varieties of African textiles is the colorful, striped Kent fabric from Ghana. Bogolan with a complex pattern is another well-known technique.

Contemporary African art

Africa is home to a thriving contemporary visual arts culture. This has unfortunately been understudied until recently, due to the emphasis of scholars and collectors on traditional art. Notable contemporary artists include: El Anatsui, Marlene Dumas, William Kentridge, Karel Nel, Kendell Geers, Yinka Shonibare, Zerihun Yetmgeta, Odhiambo Siangla, Elias Jengo, Olu Oguibe, Lubaina Himid and Bili Bidjocka, Henry Tayali. Art biennales are held in Dakar, Senegal, and Johannesburg, South Africa. Many contemporary African artists are represented in museum collections, and their works can fetch high prices at art auctions. Despite this, many contemporary African artists are facing difficult times in finding markets for their work. Many contemporary African arts borrow heavily from their traditional predecessors. Ironically, this emphasis on abstraction is seen by Westerners as an imitation of European and American cubist and totemic artists such as Pablo Picasso, Amadeo Modigliani and Henri Matisse, who, in the early twentieth century, were heavily influenced by traditional African art. This period was very important for the evolution of Western modernism in the visual arts, symbolized by Picasso's breakthrough painting Les Demoiselles d'Avignon.

Today Fathi Hasan is considered an early representative of modern black African art. Contemporary African art was first introduced in the 1950s and 1960s in South Africa by artists such as Irma Stern, Cyril Fraden, Walter Battiss and through galleries such as the Goodman Gallery in Johannesburg. Later European galleries like the October Gallery in London and collectors such as Jean Pigozzi, Arthur Walter and Gianni Baiocchi in Rome helped expand interest in the topic. Numerous exhibitions at the Museum of African Art in New York and the African Pavilion at the 2007 Venice Biennale, which showcased Sindika Dokolo's African contemporary art collection, have gone a long way towards combating many of the myths and prejudices that plague contemporary African art. The appointment of Nigerian Okwui Enwezor as artistic director of Documenta 11 and his African-centric vision of art has propelled the careers of countless African artists onto the international stage.

A wide range of more or less traditional forms of art, or adaptations of a traditional style to modern taste, are created for sale to tourists and others, including so-called "Aboriginal art". Many energetic popular traditions assimilate Western influences into African styles, such as the elaborate fantasy coffins in the shape of airplanes, cars or animals of West African cities and club banners.

Countries and people

Zambia

While the world looks in a different direction, the arts are thriving in Zambia on meager funds. Zambia is arguably home to some of the most creative and talented artists in the world. The desire for creativity among artists in Zambia is so strong that they will use anything. From burlap to car paint, even old sheets are often used in place of canvases as art materials. Trash and debris are transformed into works of art that are often stunning in scale. The tradition of fine arts, in the Western concept of the term, in Zambia dates back to colonial times and has grown steadily since then. Thanks to the Lechwe Foundation, much of Zambia's art is guaranteed a home in the country where it was created.

The Lechwe Foundation was founded by Cynthia Zukas. An artist herself, she was friends with many artists in Zambia in the early 1980s, including William Bwalya Miko, who remembers fondly how Zukas would return from a trip abroad with suitcases full of art materials to give to local artists who had no access to such tools. In 1986 she received an inheritance and decided it was time to support artists in a more substantial way, and the Lechwe Trust was created. Their goal was to provide scholarships to artists who wanted to study formally or attend art workshops and courses. They also decided to start collecting, providing an artistic legacy for Zambia, however there are works by those who have lived in Zambia or have a connection to the country. There are now over 200 works of art ranging from paintings to sculptures, prints to sketches - a heritage that Zambians should be proud of, yet few are aware of its existence. Or at least that was the case until the recent exhibition. The lack of promotion of the art scene in Zambia is the only problem that artists need to address.

Lechwe Foundation Exhibition

"Destination" is a shining example of the importance of the Lechwe Foundation's work. In Henry Teyali's seminal painting Destiny (1975–1980), the struggle for identity during progress is evident.

Henry Tayali's painting "Destiny"

In the foreground, a myriad of human figures climb and work, carrying iron beams and shovels, while they seem to be trapped in a huge, steamy modern city. The city itself is painted in muted grays and browns, however, the crowd is dressed in bright colors. According to the exhibition catalog and an article in local magazine The Lowdown, this painting had a long and interesting life. In 1966 the painting was sold to Tim Gibbs, son of the then Southern Rhodesian Governor Sir Humphrey Gibbs. In 1980, Teyali traveled to now-independent Zimbabwe to bring back his painting. It is not surprising that he was refused, but was given permission to borrow the painting for exhibitions. Destiny toured London, Zambia and Paris before returning to Gibbs. By 1989 Henry Teyali had died and "Destiny" was again shown in London by the Lechwe Foundation. It took two years, but the foundation now owns the painting, the centerpiece of their impressive collection.

Artists in Zambia face unique, although certainly not unique, challenges. Even today, materials such as oil paints, brushes, canvases still need to be imported from South Africa, making them prohibitively expensive. The lack of a public library and subject journals means that artists are deprived of the opportunity to study more famous artists or a sense of belonging to a wider international community. Just a year ago, if you wanted to study art in Zambia, there was only one course available in the country - a certificate in art education, which prepared you for teaching rather than making art.

Two paintings by artists of two different generations: Henry Teyali (1943–1987) on the left and living artist Stary Mwaba. And, of course, attempts are being made to sell their work. In more economically stable countries, only a few artists can truly claim to make a living from their art alone, but these people are few and far between in Zambia. This happens not only because there are fewer people with sufficient income willing to buy a painting, but also because of the preconceptions of some tourists and expats who assume that they expect to buy a work at a bargain price, the cost of a souvenir, but the prices turn out to be higher. The complaint that work is overpriced is a bone of contention. Lusaka is one of the most expensive cities in sub-Saharan Africa in terms of rents and product prices, plus, as mentioned above, art materials are especially expensive. The artists argue that the prices of their works fairly reflect their economic realities, plus some artists have exhibited internationally and feel they have the right to ask for more money. Low sales figures indicate that many, unfortunately, do not agree with this. Low sales could also be the result of something else. Very few people outside the very small Zambian art world know how active artists are nowadays. A look at international art magazines reveals a lack of coverage of sub-Saharan Africa, with only a few artists such as Chris Ofili and Yinka Shonibair managing to break into Europe and the US. Many contemporary Zambian artists such as Zenzele Chulu and Stari Mwaba, who have exhibited internationally, believe that this is because the art world wants to see African art within a very specific, ethnocentric stereotype. As a result, they are often asked to participate in African-themed exhibitions, which limit their activities and upset the artists. As Mwaba says: “Am I an African artist or an artist from Africa?” And more importantly, why does this question still matter?

And yet Lusaka is bursting at the seams with the number of artists, and the Henry Tayali Gallery - Lusaka's main fine art gallery - is filled almost floor to ceiling with works of art, and although they only have a modest trickle of visitors (some days, they say, none at all), the gallery is a hub of activity. Why? Well, in a country where work opportunities are limited, it is better to be an artist and work than to wait for a job that may never come. School is not possible for a large number of children whose parents do not have the money or time, which is often spent helping around the house. But through art, you can express yourself without the ability to read and write. The arts community is warm and friendly, full of people who understand that their greatest resource is themselves; new members are welcomed with open arms. There is a more abstract and perhaps also rarely articulated motivation - pride and a desire to depict and explore Zambia through visual means. Through their work, Zambian artists exude dignity and an understanding of what is good and bad in their society. They question, they probe, and sometimes they judge. Artists here simply love art, they crave it, and it is a crucial contribution to their self-awareness, their sense of purpose.

Zambia's history is full of talent and character, even if their exploits and achievements are not always well documented. Take Aquila Simpasa. At one time, Simpasa was a world-famous artist, and sculpture and drawing were his favorite media, but art was so deeply ingrained in him that he painted and also created music. He was friends with Eddie Grant and hung out with Jimi Hendrix and Mick Jagger. Simpasa was a major discoverer. Unfortunately, he also had mental health problems and died relatively young in the 1980s, and has since fallen into virtual obscurity. Those of his contemporaries who are still alive remember him well. When asked to comment on his friend Simpasa, artist Patrick Mwimba made the following observation: "He was the best Zambian artist." Stories about him pass from mouth to mouth, which, just like the artist himself and his life, are poorly documented. William Miko and Zenzel Chulu both mentioned how some believe he is still alive, like Elvis, he became a legend and now thanks to the Lechwe Trust, the legend can speak through his work.

There is no denying that the Lechwe Trust has come a long way in addressing many of the issues facing Zambian artists. By purchasing art at a fair price, some artists are able to stay in Zambia and work rather than leaving the country like many, including Henry Teyali. The foundation helped William Miko develop as an artist and study abroad in Europe. He eventually returned to work and help the foundation. Lychee is the only fund of its kind in Zambia. The country is full of NGOs, few if any of them are interested in the art scene. However, "You cannot have development without the development of art and culture," states William Miko. He gives the example of Japan, which has a centuries-old and highly respected artistic tradition. He believes this tradition of inspiration, creativity and hard work helped shape Japan into the technology powerhouse it has become in modern times. The Lechwe Foundation's tireless support of the Zambian art scene could be key to securing recognition, especially now that they have decided to build their own gallery.

Mali

The main ethnic groups of Mali are the Bambara (also known as Bamana) and Dogon. Smaller ethnic groups consist of the Marka and Bozo fishermen of the Niger River. Ancient civilizations flourished in areas such as Djene and Timbuktu, where large numbers of ancient bronze and terracotta figures have been discovered.

Two figurines of Chivara Bambara, c. end 19 – beginning 20th century, Chicago Institute of Arts. Women's (left) and men's, vertical version

Bambara people (Mali)

The Bambara people adapted many artistic traditions and began creating works of art. Before money became the main driver of the creation of their works of art, they used their abilities only as a sacred craft to display spiritual pride, religious beliefs and display of customs. An example of a work of art is the Banama n"tomo mask. Other statues were created for people such as hunters and farmers so that others could leave offerings after a long farming season or group hunts. Bambara stylistic variations include sculptures, masks and headdresses that depict stylized or realistic features or weathered or fossilized patinas. Until recently, the function of these objects was shrouded in mystery, but over the past twenty years, research has shown that certain types of figures and headdresses were associated with a range of societies that formed the structure of Bambara life. During the 1970s- x a group of approximately twenty TjiWara figures, masks and headdresses belonging to the so-called "Shogu" style has been identified. The style is recognizable by its typical flat faces, arrow-shaped noses, triangular scarring over the entire body and splayed arms.

Masks of Mali

There are three main and one minor type of Bambara mask. The first type, used by the N'tomo society, has a typical comb-like design over the face, is worn during dances and may be covered with cowrie shells. The second type of mask, associated with the Como society, has a spherical head with two antelope horns at the top and an enlarged, flattened mouth They are used during dances, but some have a thick, ossified coating acquired during other ceremonies during which libations are poured over them.

Kanaga mask sold at the Afroart gallery

The third type is associated with the Nama society and is carved in the shape of a bird's head, while the fourth, minor type, is a stylized animal head and is used by the Goryeo society. Other Bambara masks are known to exist, unlike those described above, they cannot be associated with specific societies or ceremonies. Bambara carvers are famous for the zoomorphic headdresses worn by members of the TJI-Vara society. Although they are different, they all show a highly abstract body, often including a zigzag pattern that represents the east to west course of the sun, and a head with two large horns. The Bambara of the Tji-Wara society wear a headdress while dancing in their fields during planting, in hopes of increasing crop yields.

Figurines of Mali

Bambara figurines are primarily used during the annual ceremonies of the Guan society. During these ceremonies, a group of a maximum of seven figures, ranging in size from 80 to 130 cm in height, are carried out of their shrines by senior members of the community. The sculptures are washed, anointed again, and sacrifices are offered to their altars. These figures, some of which date between the 14th and 16th centuries, usually depict a typical combed hairstyle, often adorned with a talisman.
Two of these figures were given great importance: a seated or standing pregnant figure called Guandousou, known in the West as the "Queen of Bambara", and a male figure called Guantigui, who is usually depicted holding a knife. The two figures were surrounded by accompanying Guannyeni figures, standing or sitting in various positions, holding a vessel, a musical instrument, or their chest. During the 1970s, numerous fakes from Bamako that were based on these sculptures entered the market.

Other Bambara figures, called Dyonyeni, are thought to be associated with either the southern Dyo society or the Kwore society. These female or hermaphroditic figures usually have geometric features like this

Until the 19th century it was considered primitive, however, oddly enough, it had a great influence on European fine art. Unusual forms were adopted by various avant-garde movements. This became especially noticeable at the beginning of the 20th century. Since then, African painting has come to be regarded as a serious art that requires special attention.

African style is distinguished by powerful expression and energy, which is embodied both in the forms themselves and in the symbols that accompany them. Another indispensable attribute is the presence in the works of African masters of a sacred connection with the world of spirits and Gods. Surprisingly, the colors that prevail in the paintings of African artists very accurately reflect the colors of the landscapes of this continent. Bright, green - like the jungle, yellow - like deserts and savannas, red - like the hot and scorching sun. In addition, the characteristic color for African painting is various shades of brown, ranging from fawn to almost red. Whether this combination of colors comes from rock paintings or is a later invention of local craftsmen is unknown. A lot of books and scientific articles have been written on this topic, but no one has ever figured out the secret of the unique painting of this continent.

Africa, especially South Africa, remained untouched and inaccessible to Europeans for a long time. Local tribes lived in their own world, without communicating with the rest, which is why their art is so different from what we are used to. It developed in the most unpredictable ways and, as a result, became so isolated and unique that the first viewers could not even understand that it was very beautifully and professionally done. Canonical forms, traditional motifs, life and everyday life, worries and worries, beliefs, fears and aspirations of the inhabitants of the continent, where there is no cold and snow, are reflected in their drawings and paintings and are incomprehensible to people who were brought up under the influence of completely different ideas and values . If our distant ancestors could fully understand and be imbued with such painting, then it has become increasingly difficult for modern people to do this.

What is it African painting!? If you try to talk about it in a few words, then this is: a single-color background, with several shades; the main motif of the work occupies almost the entire space; lack of perspective; the presence of ornaments and certain signs; the painting itself is made with wide and sweeping strokes or lines; grotesque forms; dynamics. Only from the outside does it seem primitive. Many avant-garde artists of the past and our time find a special genius in this. Such forms of modern painting as cubism, primitivism and some others were created only thanks to African art.

If you need high-quality, reliable and durable

According to a contemporary German artist Sabine Barbe(Sabine Barber), the inspiration for her work can be anything: be it a person or nature. Thanks to her extraordinary talent and unbridled imagination, she creates truly beautiful paintings in which life is in full swing. A wonderful selection of works dedicated to South Africa, which depicts not only ethnic portraits, but also colorful landscapes of wild nature, will help you verify this.

Sabina has been drawing since an early age, but only after becoming a mother of two children did she become seriously interested in painting, giving her preference to oil and pastels. According to the author, it is pastel that gives her unique freedom and spontaneity, making her work truly soft and deep. And it is not at all surprising that these paintings make an indelible impression on the viewer, giving a feeling of calm, harmony and tranquility, because there is something special in them that attracts attention, causing a smile, not leaving anyone indifferent...