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Invention and Tradition

The Art of Southeastern Nigeria

Dierk Dierking (Editor), Herbert M. Cole (Author)

Prestel, 2012
240 pp.
24 x 30 cm 

Hardcover with jacket

 

ISBN 978-3-7913-4600-7


Price: 75 CHF plus postage

The peoples of Southeastern Nigeria — the populous Igbo and a dozen nearby but smaller groups — are famous for their artistic creativity. This illuminating book focuses on the area's sculptural arts — mostly figures and masks — examining these mostly unpublished works through the dual lenses of invention and tradition, and with many early and recent contextual photographs. More than 130 examples, dating from the past two centuries, reveal both surprising similarities and differences in artwork by Igbo, Isoko, Urhobo, Ijo, Ogoni, Ibibio, Oron, Eket, Ejagham/Efut, Bokyi, Tiv, Idoma, and Igala peoples. Qualities such as the nature of realism, idealism, and abstraction, the nuances of surface and detail, and the inventiveness of facial and other features, as well as complex uses and meanings, are all addressed in this excitingly fresh over view that adds considerably to our understanding of African art.

Invention and Tradition

The Art of Southeastern Nigeria

Dierk Dierking (Editor), Herbert M. Cole (Author)

Prestel, 2012
240 pp.
24 x 30 cm 

Hardcover with jacket

 

ISBN 978-3-7913-4600-7


Price: 75 CHF plus postage

The peoples of Southeastern Nigeria — the populous Igbo and a dozen nearby but smaller groups — are famous for their artistic creativity. This illuminating book focuses on the area's sculptural arts — mostly figures and masks — examining these mostly unpublished works through the dual lenses of invention and tradition, and with many early and recent contextual photographs. More than 130 examples, dating from the past two centuries, reveal both surprising similarities and differences in artwork by Igbo, Isoko, Urhobo, Ijo, Ogoni, Ibibio, Oron, Eket, Ejagham/Efut, Bokyi, Tiv, Idoma, and Igala peoples. Qualities such as the nature of realism, idealism, and abstraction, the nuances of surface and detail, and the inventiveness of facial and other features, as well as complex uses and meanings, are all addressed in this excitingly fresh over view that adds considerably to our understanding of African art.

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