File:Mask, Brücke-Museum Berlin, 64999, view c.jpg
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Original file (6,196 × 8,270 pixels, file size: 34.87 MB, MIME type: image/jpeg)
Captions
Captions
Mask, Souvenir, West Africa, around 1900-1950, view from the back
Summary
Object
| Artist |
English: once known creator
Deutsch: einst bekannte*r Urheber*in |
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| Description |
Deutsch: Maske, Souvenir
English: Mask, Souvenir |
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| Date | between 1900 and 1950 | |||||||||||||||||||||||
| Medium | wood | |||||||||||||||||||||||
| Dimensions | height: 23.5 cm (9.2 in); width: 14 cm (5.5 in); depth: 9.5 cm (3.7 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H 35 |
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| Place of creation | West Africa (Q4412) | |||||||||||||||||||||||
| Notes |
English: Like many other pieces in Karl Schmidt-Rottluff's collection, this mask is probably carved for the tourist market. Since the time of the early trade relations between West Africa and Portugal in the 16th century, works were produced for export. During the colonial period and beyond, this production intensified, producing a creative art output that art dealers and collectors often disdainfully refer to as "non-authentic" and "tourist art." The exchange between the "traditional" contexts of manufacturing and production for an international market has led to new modes of design, materials, forms and colors even in local settings, documenting very "authentically" the social changes.
Deutsch: Diese Maske ist vermutlich, wie viele Stücke in der Sammlung von Karl Schmidt-Rottluff, für den Touristenmarkt geschnitzt. Seit der Zeit der frühen Handelsbeziehungen zwischen Westafrika und Portugal im 16. Jahrhundert wurden Werke für den Export hergestellt. Während der Kolonialzeit und darüber hinaus hat sich diese Produktion intensiviert und eine kreative Kunstproduktion hervorgebracht, die von Kunsthändlern und Sammlern oftmals verächtlich als „nicht-authentisch“ und „tourist art“ bezeichnet wird. Der Austausch zwischen den „traditionellen“ Kontexten der Herstellung und der Produktion für einen internationalen Markt hat jedoch zu neuen Gestaltungsweisen, Materialien, Formen und Farben auch in lokalen Settings geführt und dokumentiert sehr „authentisch“ die gesellschaftlichen Veränderungen. |
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| References | Gemälde: Karl Schmidt-Rottluff, Schiefblatt und Maske, 1950, Öl auf Leinwand, Brücke-Museum, Karl und Emy Schmidt-Rottluff Stiftung: https://www.bruecke-museum.de/de/sammlung/werke/63558/schiefblatt-und-maske | |||||||||||||||||||||||
Photograph
| Description |
English: Mask, Souvenir, West Africa, around 1900-1950, view from the back  |
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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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| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 14:02, 25 April 2022 | | 6,196 × 8,270 (34.87 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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