File:Kpelie Mask, Brücke-Museum Berlin, 84441, view b.jpg
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Captions
Captions
Kpelie Mask in Senufo-style, Ivory Coast, Ghana, Burkina Faso, Mali, around 1900-1970, profile view
Summary
Object
| Artist |
English: once known creator
Deutsch: einst bekannte*r Urheber*in |
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| Description |
Deutsch: Kpelie-Maske im Stil der Senufo
English: Kpelie Mask in Senufo-style |
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| Date | between 1900 and 1970 | |||||||||||||||||||||||
| Medium | wood | |||||||||||||||||||||||
| Dimensions | height: 26.5 cm (10.4 in); width: 17.5 cm (6.8 in); depth: 10.5 cm (4.1 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H 97 |
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| Place of creation | Ivory Coast (Q1008) / Ghana (Q117) / Burkina Faso (Q965) / Mali (Q912) | |||||||||||||||||||||||
| Notes |
English: The "sacred bird" on the head of the mask is broken off. This type of mask, originally used by a secret society of the Senufo, is one of the most successful prototypes on the African art market. It is made and sold almost everywhere in Africa today.
Deutsch: Der „heilige Vogel“ auf dem Kopf der Maske ist abgebrochen. Dieser Maskentypus, der ursprünglich von einem Geheimbund der Senufo genutzt wurde, ist einer der erfolgreichsten Prototypen auf dem afrikanischen Kunstmarkt. Er wird heute fast überall in Afrika hergestellt und verkauft. |
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| References | Silvia Forni / Christopher Steiner, Africa in the Market: Twentieth-century Art from the Amrad African Art Collection, Royal Ontario Museum 2015. | |||||||||||||||||||||||
Photograph
| Description |
English: Kpelie Mask in Senufo-style, Ivory Coast, Ghana, Burkina Faso, Mali, around 1900-1970, profile view  |
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| Date | ||||
| Source | BrückeMuseumBerlin | |||
| Author | Nick Ash, Berlin | |||
| Permission (Reusing this file) |
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| Other versions |
The estate of Karl Schmidt-Rottluff, owned by the Karl and Emy Schmidt-Rottluff Foundation at the Brücke Museum, contains his collection of around 100 sculptures and objects with colonial backgrounds. The Brücke artist himself never travelled outside Europe and, to the best of current knowledge, bought these objects in the art trade and from private owners from the 1910s onwards. The collection includes ritual and everyday objects, alongside souvenirs for the Western market. The way they were perceived underwent changes: they came to be seen as objects of art and decoration. Little is known of their origins, the circumstances of their acquisition, or the historical and current importance of the objects. Most of them originate from Germany’s former colonies, thus referring directly to German Expressionists’ entanglements in the often unlawful appropriation of material culture in colonially occupied lands. More
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File history
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| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 14:00, 25 April 2022 | | 8,270 × 6,196 (23.61 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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