Shown in court attaire, a man stands with arms bent at his waist, and left hand holding both a rolled up document and a small pair of spectacles. It reads above the man's head "M. Labori", who was Captain Dreyfus' defense attorney.
This etching depicts a vast and lively gathering of figures around a large banquet table in the foreground accompanied by other crowds of figures throughout the composition. The scene takes place in an outdoor setting surrounded by classical architecture that recedes perspectivally in the distance.
Face mask embroidered extensively wtih glass beads. Two long panels hang down the front and back of the wearer. Humanoid face at top has two round eye holes allowing the wearer to see, a strip of fabric for nose and open, upturned mouth. Ears are protruding disks attached on either side of the face . Top of the head is covered with small, corklike knobs covered with black cloth. The beadwork is predominantly green, with intricate, scallop-shaped patterns along edge of panels, and vertical, star-like patterns filling center of the panels. Interior of panels is lined with damask.
Stylized images of the elephant abound in the pageantry that surrounded Bamileke kings and men of distinction. The elephant masquerade was danced by members of powerful men’s regulatory societies that oversaw the ritual and judicial affairs of the kingdom. Performed at royal festivals and funerals, these masks honored the authority of leadership and the transcendental forces of the forest.
Two men stand side by side in this portrait, both dressed in suits. One man faces front-center while the other is shown via his profile. Their eyes are not painted but their brows appear furrowed. Above the men reads "Paleologue et Demange" or "Paleologue and Demange". Paleologue gave testimony during Dreyfus' court case and Demange was one of Dreyfus' defence lawyers.
In this idyllic scene, the goddess Parvati offers her husband Shiva a drink, as they enjoy a quiet moment together. Their children, the elephant-headed Ganesha and Skanda, play inside a tent made from the hide of an elephant demon that Shiva had slain. Both parents are clothed in animal skins, the garb of mountain-dwelling ascetics, while Shiva is further adorned with a long necklace of skulls and a snake.
The narrative and iconographical elements of this scene alludes to multiple aspects of Shiva’s character—as lover, family man, destroyer of evil, and supreme practitioner of austerities—but, as is typical of Kangra painting, the overall mood is one of tranquility and domestic harmony.
Kangra was a small Rajput state in the Punjab Hills, which lie at the foot of the Himalaya in the far north of India. From the mid-eighteenth century, artists in this region began to adapt certain features of European painting, as filtered through Mughal painting. That impact is seen here in the naturalistic palette and treatment of forms, especially the animals and tree.
Wood-carved flywhisk is shape of a woman. Her torso doubles as the whisk handle and is scarified with leaden inlay, which has been worn smooth due to extended use. A red cotton wrap marks the transition zone between the female’s torso and the buffalo hair whisk below. The whisk visually acts as a grass skirt completing the above figure’s body and dress.
Whisks are the prerogative of rulers, divination experts or judges. This one seems to be of special importance given its intricate surface design. The figure raises her arm to her head making a gesture that indicates that she is also in the process of whisking up and down.
Mask is made entirely of blackish-brown dyed and molded raffia fiber; face has bulging forehead, deeo set narrow eyes, bulbous nose, and raffia “beard.” Top of head has cone-like crest of small fiber knots.
In pre-colonial Sala Mpasu society authority was vested in members of the Matambu warriors’ society who could secure the rights to wear an array of important masks. The most prestigious of these were the idangani, made entirely of woven fiber. These masks represented a husband and wife pair. This mask is female, identified by small fiber knobs that recall a popular woman’s hairstyle.
Signed and dated in pencil, l.r.: Joan Snyder '92 Inscribed in pencil, bottom center: "Art and the Nature of Grief" Numbered in pencil, l.l.: II Inscribed in image: "Figurative or not, art/is first of all a series of/Models of BeHAVIOR/____ of life that reflect/back onto it, giving ____/patterns to follow or/reject, _____meaning _____ act/ Hope for____(illegible) natives. Being a____assuage___losses___crying/CHANGING NATURE OF Grief"
Round beaded crown with six radiating bands (predominantly green with white, metallic and blue accents) that stem from the central axis upon which the big blue-headed bird sits. Smaller birds perch at the base of the bands. Bottom rim predominantly red with white, metallic and blue accents. Spaces in between vertical bands are filled with yellow feathers or possibly synthetic material.
Yoruba rulers or Obas use this type of head covering for everyday occasions. This vibrant version is a byproduct of creative cross-fertilization in between European and Yoruba royal headgear. The birds adorning the coronet are ubiquitous features of royal crowns, while the general design structure is reminiscent of bejeweled royal British crowns.
Concave, ovoid maskette with kaolin covering surface of surface of face. Minimal rendering of facial features: raised, tapered wood strip for nose; narrow, oviod, horizontal eyes; open, ovoid mouth with some striation around interior edge.
This maskette was used in initiation ceremonies associated with bwami, a ranked initiation society open to all Lega men and women. Bwami was the core of Lega identity. Its moral and philosophical precepts permeated all aspects of social and political life. Maskettes were emblems of an individual's rank in the bwami society. They were also used to aid in the instruction of bwami ideas and values. The meaning of individual maskettes were context specific and could change over time.
Cylindrical, wood carved cup with geometric motifs and linear, interlocking surface designs that cover the entire surface of the object.
In the nineteenth and early twentieth centuries, palm wine cups carved elaborately from wood were high prestige objects, and were commissioned or purchased by individuals who could readily afford them. Such cups were public displays of personal success and accomplishment. This cylindrical cup features the Kuba aesthetic preference for geometric motifs and linear, interlocking surface designs that cover the entire surface of the object.