Colours of Congo patterns, symbols and narratives in 20th-Century Congolese paintings editors: Florian Knothe and Estela Ibáñez-García ; foreword: Florian Knothe, Henry Lu Chung Chun ; contributors: Thomas Bayet, Estela Ibáñez-García, Florian Knothe... [et al.] ; afterword: Estela Ibáñez-García

Contributor(s): Material type: TextTextLanguage: English Hong Kong University Museum and Art Gallery. The University of Hong Kong 2021Description: 214 p. cart., ill. 30 cmContent type:
  • rdaco:1020, rdaco:1014
Media type:
  • rdamt:1007
Carrier type:
  • rdact:1049
ISBN:
  • 9789887470731
Summary: A richly illustrated study on the history and reception of twentieth-century Congolese painting. A strong international interest in Congolese art has grown steadily since the founding of Belgium’s Royal Museum of Central Africa in the early 1900s, which was the first museum to institutionalize its study. In order to represent the chronological development of painting studios from Elisabethville to Brazzaville, this book is organized into three distinct sections. The first section provides a general introduction to Congolese art, focusing on the time period following the initial colonial encounter, and the second section discusses the painting studio established by Pierre Romain-Desfossés. The book concludes with a look at the schools of Laurent Moonens and Pierre Lods, highlighting the development of the various institutions that brought European art materials to the Congo and established techniques that subsequently popularized Congolese artists in Europe. This book is certain to draw attention to a significant area of African art history that continues to arouse popular interest.
Holdings
Item type Current library Call number Copy number Status Date due Barcode
book Central Library 131.812 CB Available RMCA 60577

Bibliography

A richly illustrated study on the history and reception of twentieth-century Congolese painting.
A strong international interest in Congolese art has grown steadily since the founding of Belgium’s Royal Museum of Central Africa in the early 1900s, which was the first museum to institutionalize its study. In order to represent the chronological development of painting studios from Elisabethville to Brazzaville, this book is organized into three distinct sections. The first section provides a general introduction to Congolese art, focusing on the time period following the initial colonial encounter, and the second section discusses the painting studio established by Pierre Romain-Desfossés. The book concludes with a look at the schools of Laurent Moonens and Pierre Lods, highlighting the development of the various institutions that brought European art materials to the Congo and established techniques that subsequently popularized Congolese artists in Europe. This book is certain to draw attention to a significant area of African art history that continues to arouse popular interest.