By Ladislas Segy

163 full-page plates Illustrating mask, fertility figures, ceremonial gadgets, etc., of fifty West and important African tribes—95% by no means sooner than illustrated. 34-page creation to African sculpture.
«Mr. Segy is considered one of its most sensible authorities,» New Yorker.
164 full-page photographic plates.

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Cezanne, who never saw African art, laid down the basic principles upon which the Cubists began the concept that a plastic elements work to create their own work. Besides of art could be constructed out of — cones and spheres — Cezanne also recog- 30 introduction nixed that the from visual the form 18 work of art should be or could be independent As Picasso reality. " African masks and statues were on exhibit in the old Trocadero Museum, or were sold in curio shops. And it is not unnatural that artists who were evolving new concepts, upon seeing these African carvings, found to their astonishment that what was new to them had actually been familiar to many hundreds African artists for enthusiastic about African art.

The Bayaka mask from the Belgian Congo has a pig's nose (Plate 143); the Poro Society mask has Visual realism Facial features on monkey hair attached to a large beak (Plate 23) and the mask, from the French Sudan or the Ivorv Coast, ; llfo 21 introduction combines human features with a crocodile jaw, a boar's tusk, and antelope horns (Plate 40). Sometimes, as on the Baule mask from the Ivory Coast (Plate 31), the human face is intact, but horns or figures of animals may be placed above it. — customs, — folklore must be studied before the meaning Again, the ethnology of the individual tribe its myths, its its of these features can be fathomed.

He started his apprenticeship with a master when a child, and he learned the tribal styles and the use of tools and the nature of woods so thoroughly that his carving became what Boas calls "motor action". He was a highly trained carved automatically and instinctively. The African carver followed his rules without thinking seem have been formulated in words. But such rules existed, for accident and coincidence can not explain the common plastic language of African sculpture. There is too great a consistency from one work to another.

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