The selection of pieces in the African art exhibit of the MET seems strange. Our perception of strange, however, is subjective to the art that we have grown to appreciate. When we dream in paintings, we often visualize Baroque-style art that emphasizes each muscle, vein, and skin tone of the human body. To depict with realism, and perhaps to add a divine quality, was the norm for the multitude of artists that that created “European Paintings”, or at least, the corresponding exhibit at the Metropolitan Museum of Art.
African sculptors depict the human body in a way that is radically unique. Without focusing on the intricate details of the general human physique, they bring emphasis to the most important parts of the face. The “Sculptural Element From a Reliquary Ensemble”, as shown in the exhibit, is one of such pieces in which several facial features are dramatically depicted. With an elongated jaw, oversized forehead, and large ears that connect the disproportioned neck to the well-polished face, this piece epitomizes the stark contrast between African art and that of Europe. Unlike the people of Da Vinci’s paintings, the wood-sculpture does not convey emotion through its eyes. In fact, pupils are not even incorporated into the work, an effect that provides the eyes with a blank stare. Without an evident emotion to understand, this piece can be admired at face value and for its captivating design. It is this emphasis on geometric shapes that provided numerous 20th century artists with inspiration to create a whole new segment in art.
“Sculptural Element From a Reliquary Ensemble”. Image provided by www.metmuseum.org
As one of the prominent partakers of the Modern art era, Henri Matisse exhibited great reverence for African art. Taking the base idea of focusing on shapes rather than details, Matisse created “Female Torso”. Though identifiable with its inspiration, the bronze sculpture takes abstraction to a whole new level. The hands of the piece are little nubs, the head is without any facial features, the breasts are protruding, and the body is covered in indents made by the artist’s fingers. Without any hard edges or enough details to give this “torso” a specific identity, Matisse’s creation captures the essence of a woman.
A few strides down from the African art collection is an exhibit fully dedicated to Henri Matisse. Seeing the works in both exhibits draws a clear parallel between the seemingly distinct art-styles.
Matisse’s painting “Nasturtiums with the Pair Dancing” is astonishingly similar to “Female Torso”. It is possible to say that both pieces are of bodies, and but no further meaning can be derived from them. His painting shows several women, hand in hand, forming a circle. Though they are nude like his sculpture, they are painted in a bright pink color to signify that they are the main part of his painting. All parts of the body, from the dark head to the feet, are made with linear or curved strokes of the brush; creating what looks to be more like a silhouette than an actual representation of the body. Though his art does not represent reality, it has a very humanistic approach.
Matisse experimented with a few artistic styles to see which best brought attention to his human subjects. The MET’s exhibit, entitled Matisse: In Search of True Painting, conveniently showed his various attempts at creating the right depiction. Stationed along one wall, his three works entitled “Le Luxe” all portrayed the same scene with three different mediums and techniques. The first, oil on canvas painting, was vibrant with various colors and shades. The water in the backdrop appeared to vary in depth and the sky had distinct hues of blues and purples. The main subject in the foreground had clear facial features and well-defined fingers. Moving away from realism and into a more abstract area, Matisse used fewer colors in the second painting. This time using distemper, he made the background less eye-catching and the subjects more intriguing. Though possessing fewer contours, his subjects stood out like marble statues against a pale backdrop. Matisse took his modern approach even further in his third picture, this time, making it out of charcoal. Evidently using cubist techniques, he altered the bodies of his subjects to look more like geometrical shapes than flesh and skin. Remarkably, he was able to recreate the style of African art on his final attempt. Standing in the foreground, his main subject had a long, thick neck and dark eyes without pupils.
The three paintings of “Le Luxe”. Image provided by www.facebook.com/nytimes.
Modernism, an artistic movement that dominates the contemporary world, found its root in an art form that was seldom noticed in the past.
