20/07/2012

Alfred Stieglitz galerie 291 M. De Zayas 1916 Arte Negra

L'AVENTURE DES ARTS PREMIERS

L'évolution d'un regard

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LE SOURCES

II

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EN ROUTE VERS LE LOUVRE

 

Enquête des Arts lointains: Seront-ils admis au Louvre?

Felix Feneon

1920

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http://ethnoflorence.skynetblogs.be/archive/2012/07/19/en...

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ALFRED STIEGLITZ

Galerie

291

1916

TEXT BY

M.DE ZAYAS

Modern art is not individualistic and esoteric and even less an expression of a spontaneus generation.

It shows itself more and more frankly an art of DISCOVERIES.

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Modern art is not based on direct plastic phenomena, but on epiphenomena, on transposition and on existing

evolutions.

In its plastic research modern art discovered Negro Art.

Picasso was its discoverer.

He introduced into European art, throug his own work,the plastic principles of negro art, the point of departure 

for our abstract representation.

Negro art has had thus a direct influence on our comprehension of form, teaching us to see and feel in purely expressive  side and opening our eyes to a new world of plastic sensations.

Negro art hs re awakened in us a sensibility obliterated by an education, which makes us always connect what we seen with what we know, our visualization with our knowledge, and makes us, in regard to form, use our intellect more than our sense.

It through European art, we have acquired the comprehension of form, from naturalistic point of view, arriving at mechanical  representation, Negro art has made us discover the possibility of giving plastic expression to the sensation  produced by the outer life, and consequently,also the possibility of finding new forms to espress our inner life.

Negro art product of the 'land of fright', reated by a mentality full of lear, and completely devoid of the faculties of observaton and analysis,is the pure expression of the emotions of a slave race, victim of nature, who see the outer world only under its most intensely expressive aspect anf not under its natuaral one.

The introduction of the plastic principles of African art into our European art does not constitute  a retrogradation or a 

decadence, for through them we have realized the possibility of expressing ourselves plastically without the recurrance of direct imitation of fanciful symbolism.

M. DE ZAYAS

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