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Sul Significato della Scultura Africana1

Published online by Cambridge University Press:  23 January 2012

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La conoscenza della scultura africana ha avuto una storia paradossale. Nei secoli in cui fioriva in Europa la moda dell'esotismo orientaleggiante, quest'arte esotica per eccellenza fu totalmente ignorata; ma essa divenne celebre nel momento in cui l'esotismo tramontava. I suoi capolavori più genuini furono raccolti a migliaia quando quasi nessuno sospettava il loro intrinseco valore; acquistarono iperbolica fama ad opera di persone che ignoravano tutto a loro riguardo, e furono esaltate proprio per quei pregi che in realtà non possedevano. Nello stesso momento in cui la plastica negra rappresentava un lievito di grande importanza, per quanto male impiegato, nella cultura occidentale, gli Europei ne causavano il completo tracollo. E infine, fenomeno ancora più malinconico, gli Africani acquistano consapevolezza riflessa della loro nobilissima tradizione artistica proprio oggi, in un mondo che, a meno di miracoli, sembra aver posto su quella tradizione una triste pietra tombale.

Type
Research Article
Information
Africa , Volume 31 , Issue 4 , October 1961 , pp. 324 - 343
Copyright
Copyright © International African Institute 1961

References

page 324 note 2 Pettazzoni, R., Avori scolpiti africani in collezioni italiane, Roma, 1912Google Scholar; W. B. Fagg, Afro-Portuguese Ivories, London, s.d.; e per la bibliografia, Wolf, S., ‘Afrikanische Elfenbeinlöffel des 16. Jahrhunderts im Museum für Völkerkunde Dresden’, in Ethnologica, N.F., Bd. 2, Köln, 1960, pp. 410–25.Google Scholar

page 326 note 1 Apollonio, U., ‘Espressionismo’, in Enciclopedia Universah dell' Arte, v, 66, Venezia-Roma (1961)Google Scholar; Rossi, A., ‘Il primitivo nella scultura contemporanea’, in Il Contemporaneo, ii. 17 (Settembre 1959)Google Scholar; Sedlmayr, H., ‘Franz Marc oder die Unschuld der Tiere’, in Wort und Wahrheit, giugno 1951Google Scholar; lo stesso, La rivoluzione dell'arte moderna, Milano, 1960, pp. 111 sgg.Google Scholar

page 326 note 2 Cit. in Introduction, Arts d'Afrique et d'Océanie, Cannes, 1957.

page 327 note 1 Griaule, M., Arts de l'Afrique Noire, Paris, 1947, p. 9.Google Scholar

page 327 note 2 Frobenius, L., Histoire de la civilisation africaine, Paris, 1933, p. 15.Google Scholar

page 327 note 3 Gide, A., Le Retourdu Tchad, Paris, 1928, pp. 4849.Google Scholar

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page 328 note 1 L. Kochnitzky, Influence de la plastique nègre sur l'art contemporain, éd. ‘Synthèses’, Bruxelles, s.d., pp. 2 sgg.

page 328 note 2 A. Rossi, op. cit., p. 37.

page 329 note 1 Gerbrands, A. A., Art as an Element of Culture, especially in Negro Africa, Leiden, 1957, pp. 57 sgg.Google Scholar; Fagg, W. B., ‘Africane Culture’, in Enciclopedia Universale dell'Arte, i, cols. 133 sgg., Venezia-Roma, 1958.Google Scholar

page 331 note 1 Torday, E., ‘The Influence of the Kingdom of Kongo on Central Africa’, Africa, i, London, 1928, pp. 160Google Scholar sgg.; Plass, M., African Tribal Sculpture, Philadelphia, s.d., pp. 5556.Google Scholar

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page 332 note 1 Olbrechts, F. M., Les Arts plastiques du Congo Belge, Bruxelles, 1959, p. 105.Google Scholar

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page 333 note 2 Si vedano al proposito le osservazioni di Schneider, H., ‘The Interpretation of Pakot Visual Art’, Man, lvi (1956), n, 108Google Scholar, e i comment! di Herskovits, M. J., ‘Art and Value’, in Aspects of Primitive Art, New York, 1959, pp. 44 sgg.Google Scholar

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page 334 note 2 Gerbrands, op. cit., 139. La sottolineatura è mia.

page 335 note 1 Enwonwu, Ben, ‘Problems of the African Artist Today’, Présence Africaine, N.S., nos. 8–10, juin-novembre 1956, pp. 177–8.Google Scholar

page 336 note 1 von Sydow, E., ‘African Sculpture’, Africa, i, London, 1928, p. 211.Google Scholar

page 337 note 2 Cfr. Schweeger-Hefel, A., Holzplastik in Afrika, Wien, 1960, p. 1.Google Scholar

page 337 note 3 Africa, xxxi, 1961, p. 98.Google Scholar

page 337 note 3 Panofsky, E., Meaning in the Visual Arts, Garden City, N.Y., 1955, pp. 2654.Google Scholar

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