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Prebles’ Artforms

Twelfth Edition

Chapter 20

Africa, Oceania, and the Americas

Learning Objectives

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

20.3 Examine the continuation of artistic traditions in native North American cultures.

20.4 Describe media and functions of art in Mesoamerica and South America.

Africa [Fig. 20-1]

Africa (1 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Diversity of art of the African continent reflects variety of cultures

North of the Sahara, art forms fall under either Egyptian, Roman, or Islamic traditions.

Covered in previous chapters

Focus on sub-Saharan Africa

Head from Nok culture, Nigeria

Some of the earliest art forms

Terra cotta and nearly life-size

Vivid facial expressions

Male Figure. Nok culture. c.195 BCE–205 CE. Terra cotta. 19-1/2” × 8-3/4” × 6-5/8”. AP 1996.03.

Africa (2 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Yoruba and Benin

Ife, a Yoruba city in southwest Nigeria

Male portrait head

Skill in bronze casting

Thin-walled, hollow

Naturalistic

Male Portrait Head. Ife, Nigeria. 13th century. Bronze. Height 11-7⁄16”. Nigerian. Private Collection. Photo © Dirk Bakker/Bridgeman Images. [Fig. 20-3]

Africa (3 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Yoruba and Benin

Neighboring Benin culture

Head

Somewhat more abstract

Bronze casting a guarded secret

Devoted to glorifying the kind

Only royal artisans could practice technique

Head of an Oba. Nigeria. c.1550. Metalwork-bronze, 9-1⁄4” × 8-5⁄8” × 9”. The Metropolitan Museum of Art, New York. The Michael C. Rockefeller Memorial Collection.

Bequest of Nelson A. Rockefeller, 1979. (1979.206.86.) [Fig. 20-4]

Africa (4 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Yoruba and Benin

Ivory pendant from Benin

Carved in 16th century

Portrays a queen mother

Human heads and mudfish

Pendant Mask. Court of Benin, Nigeria. Early 16th century. Ivory, iron, copper. Height 9-3⁄8”. Metropolitan Museum of Art, New York. The Michael C. Rockefeller Memorial Collection. Gift of Nelson A. Rockefeller (1978.412.323). [Fig. 20-5]

Africa (5 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Yoruba and Benin

Yoruba peoples of Nigeria

House post

Meditation on the idea of support

Those depicted personify characteristics that support the community

Diminutive proportions and almond-shaped parts

Olembe Alaye. House Post. Yoruba, Nigeria. Mid-20th century. Wood and paint. Height 83”. Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 20-6]

Africa (6 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Yoruba and Benin

Yoruba peoples of Nigeria

House post

Seen in a 1959 photograph, Tomb of Former Chief Lisa

Adds to meaning of community’s support

Tomb of Former Chief Lisa. Ondo, Nigeria. House Post in fig. 20.6 is third from left. Photograph: W. Fagg, 1959. William B. Fagg Archive. Fowler Museum at UCLA. [Fig. 20-7]

Africa (7 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Mali, Cameroon, and Congo

Bamana people of Mali

Carved wooden antelope figure headdresses

Dance performed to imitate mythology of male and female chi wara

Bamana Chi Wara (Antelope) headdresses. Near Bamako, Mali. Photograph: Eliot Elisofon, 1971. Image no. EEPA EECL 3366. Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution. [Fig. 20-8]

Africa (8 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Mali, Cameroon, and Congo

Cameroon

Style far removed from Ife and Benin

Separate areas of headdress defined by different patterns and textures

Reinterprets, not copies, the human head

Mask. Bamileke peoples, Bamendjo, Cameroon. Late 19th century. Wood, paint, iron dowel, plant fiber, plant gum. Height 21”; width 18-1/2”; depth 12”. Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 20-9]

Africa (9 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Mali, Cameroon, and Congo

Mangaaka Power Figure from Congo

Used to house medicinal matter

Metal pieces signifying agreement from civil cases, laws, etc.

Mangaaka Power Figure (Nkondi tatu oath-taking figure). Yombe people, Democratic Republic of the Congo. 19th century. Wooden figure with iron nails. Height 34-5⁄8”. Photograph: Claudia Obrocki. Ethnologisches Museum, Staatliche Museen, Berlin, Germany. From the Richard Buettner collection. © 2017. Photograph: Scala, Florence/bpk, Bildgentur für Kunst, Kultur und Geschichte, Berlin, [Fig. 20-10]

Africa (10 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Ghana and Angola

Textile arts highly developed

Many styles have specific uses

Kente cloth pattern “Mmeeda”

Worn when something unprecedented happens

Famously worn by Kwame Nkrumah of Ghana when he won the national election for president

Kente Cloth, Ghana. "Mmeeda" ("Something that has not happened before"). 20th century. Cloth (strip weave). 59-1⁄16". Seattle Art Museum, Gift of Katherine White and the Boeing Company. Photograph: Paul Macapia. [Fig. 20-11]

Africa (11 of 11)

20.1 Identify the variety of materials, styles, and cultural purposes that characterize traditional African art.

Ghana and Angola

Cut-pile embroidery

One of continent’s oldest textile traditions

Men weave cloth using raffia fibers

Women embroider by lacing dyed strips

No knotting

Velvety texture

Vibrant patterns

Kuba Cut-Pile Embroidery. Raffia. Democratic Republic of the Congo. 20th century.

Werner Forman Archive/Anspach Collection, New York. [Fig. 20-12]

Oceania and Australia (1 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Oceania

Name for thousands of Pacific islands that comprise Melanesia, Micronesia, and Polynesia

Shared traditional beliefs

Creation of world from Earth Mother and Sky Father

Mana

Spiritual power in people, places, things

Little pottery due to clay shortage

Tools of stone, bone, or shell

Materials of wood, bark, and small plants

Oceania and Australia. [Fig. 20-13]

Oceania and Australia (2 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Melanesia

Solomon Islands

Woodcarvings and masks for rituals

Prow figure with bird

Guides voyagers that looks out for shoals and reefs

Protective Prow Figure from a War Canoe. New Georgia Island, Solomon Islands. 19th century. Wood, inlaid with mother-of-pearl. Height 6-1⁄2”. Werner Forman Archive/Museum fur Volkerkunde, Basle, Switzerland. Location: 03. [Fig. 20-14]

Oceania and Australia (3 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Melanesia

New Ireland bird mask

Strong carved patterns

Chickens holding snakes symbolizing opposition of sky and earth

Mask. New Ireland. c.1920. Painted wood, vegetable fiber, shell. 37-1⁄2” × 21-1⁄3”. Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 20-15]

Oceania and Australia (4 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Micronesia and Polynesia

Carvings in Micronesia/Polynesia

Streamlined and highly finished

Female figure Nukuoro Atoll

Unusual degree of abstraction

Likely a set of traditional carving rules

Female Figure. Nukuoro Atoll, Central Carolines. 19th century. Wood. Height 15-9⁄16”. Honolulu Museum of Art, by exchange, 1943 (4752). [Fig. 20-16]

Oceania and Australia (5 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Micronesia and Polynesia

Easter Island, Polynesia

Moai stone figures

Represent ancestors who have taken on spiritual power

On platforms overlooking small settlements

Moai. Easter Island. c.1000–1500. Volcanic rock. Height 12’. Photograph: Patrick Frank. [Fig. 20-17]

Oceania and Australia (6 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Micronesia and Polynesia

Hawaiian aumakua

Elimination of extraneous body details

Powerful stance of female figure

Human Figure (ki’i ‘aumakua). Forbes Cave, Hawaii. Koa wood. Height 29”. © The Trustees of the British Museum. [Fig. 20-18]

Oceania and Australia (7 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Micronesia and Polynesia

Hawaiian aumakua

Elimination of extraneous body details

Powerful stance of female figure

Oceania and Australia (8 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Micronesia and Polynesia

Maori meeting house

Brings together many artforms

Used for extended family gatherings and ancestor-honoring rituals

Symbolize ancestor’s presence

Face and body at the top of the gable

Abstract figures represent other ancestors

Waitangi Meeting House. Bay of Islands, North Island, New Zealand. 1934–1940.

Front view. eye35 stock/Alamy Stock Photo. [Fig. 20-19a]

Oceania and Australia (9 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Micronesia and Polynesia

Maori meeting house interior

Even more ornate

Ribs painted in curving nonrepresentational patterns

Relief carvings and abstract patterns in flax on walls

Waitangi Treaty Grounds. Maori Meeting House Interior.

Charles O. Cecil/Alamy Stock Photo.

[Fig. 20-19b]

Oceania and Australia (10 of 10)

20.2 Analyze the range of visual characteristics and meaning found in Oceanic and Australian art.

Australia

Humans present 40,000 years ago

Aboriginals

Semi-nomadic hunter-gatherers

Bond between humans and nature in Dreamtime

Bark painting, The Myth of the Wawilak Sisters

Sisters wandered across the land in Dreamtime

Story often illustrated in Aboriginal art

Aboriginal imagery has remained relatively constant for hundreds of years.

Dawarangulili. The Myth of the Wawilak Sisters. Eucalyptus bark painting. 34-3/4” × 17-1/2”.

Native North America (1 of 9)

20.3 Examine the continuation of artistic traditions in native North American cultures.

Hopewell culture (modern Ohio)

2nd–6th century CE

Large burial mounds

Later Adena culture

Great Serpent Mound, c.1070 CE

Many Native American artists today making traditional works

After period of disuse when reservations first established

Americas. [Fig. 20-21]

Great Serpent Mound. Ohio. Adena culture. c.1070 CE. Uncoiled length 1,370’. Photograph: Mark Burnett/Alamy Stock Photo. [Fig. 20-22]

Native North America (2 of 9)

20.3 Examine the continuation of artistic traditions in native North American cultures.

Plains

Plains Indians

Mato Tope (Four Bears)

Buffalo hide exploit painting

Moving figures in profile with no horizon line

Mato Tope (Four Bears). Robe with Mato Tope’s Exploits. c.1835. Buffalo hide; red wool cloth; sinew; dyed porcupine quills; horsehair and human hair; brown, yellow, and black pigment. 63” × 83-3⁄4”. Ethnographic Collection at the Bernisches Historisches Museum, Bern. Photograph: S. Rebsamen. [Fig. 20-23]

Native North America (3 of 9)

20.3 Examine the continuation of artistic traditions in native North American cultures.

Plains

Arrival of white settlers impacted hide painting

Decline of buffalo led warriors to seek other surfaces to use

Subject matter included battles with United States military forces

Howling Wolf, At the Sand Creek Massacre

Ledger book

Artist witnessed event in 1864

Painted ten years later

Howling Wolf. At the Sand Creek Massacre. 1874–75.

Pen, ink, and watercolor on ledger paper.

Allen Memorial Art Museum, Oberlin College,

Ohio, USA/Gift of Mrs. Jacob D. Cox/Bridgeman Images. [Fig. 20-24]

Native North America (4 of 9)

20.3 Examine the continuation of artistic traditions in native North American cultures.

Howling Wolf: Warrior and Artist

Member of Cheyenne

After a battle in northern Texas, sensed futility of attacks against U.S. government

Surrendered

Marked drastic turn in his life

Imprisoned as part of a social experience

Hair was cut

Given Christian names

Classroom at Fort Marion

Chief Howling Wolf, Cheyenne Indian.

Photograph: Kansas State Historical Society.

[Fig. 20-25]

Howling Wolf. Classroom at Fort Marion. 1876. Colored pencil on paper. 8-1/2” × 11”.

New York State Library, Manuscript and Special Collections section, Albany, NY. [Fig. 20-26]

Native North America (5 of 9)

20.3 Examine the continuation of artistic traditions in native North American cultures.

Southwest

Navajo of Arizona

Resourceful weavers

Second Phase Chief Blanket

Created before Navajo were exiled to New Mexico in 1863–68

Made on a loom

Dense fabric is nearly waterproof

Chief Blanket because cost meant few could afford to own one

Second Phase Chief Blanket. Navajo. c.1830–50. Handspun wool with natural dyes. 74” × 60”. Private Collection. Photograph: Tony Berlant. [Fig. 20-27]

Native North America (6 of 9)

20.3 Examine the continuation of artistic traditions in native North American cultures.

Southwest

Pueblo peoples

Best known for pottery

Traditionally done by women

Each Pueblo has own style

Ácoma pot

Made from local earthenware

Shaped without a wheel

Abstract symbols refer to forces of nature or community life

Jar. Ácoma Pueblo. 1870–1880. Earthenware and pigments. Height 8-3/4”; diameter 10-1/2”.

LACMA. Gift of Camilla Chandler Frost (M.2008.113.6). [Fig. 20-28]

Native North America (7 of 9)

20.3 Examine the continuation of artistic traditions in native North American cultures.

Southwest

Pueblo peoples

Kachinas

Spirits of invisible life forces

Zuni Pueblo and Hopi areas

Likenesses used by costumed male members in ceremonies

Marshall Lomakema. Hopi Kachina. 1971. Shungopovi, Arizona. Painted wood. Height: 34”. Courtesy of National Museum of the American Indian, Smithsonian Institution (24/7577).

Photograph: Carmelo Guadagno. [Fig. 20-29]

Native North America (8 of 9)

20.3 Examine the continuation of artistic traditions in native North American cultures.

Pacific and Northwest Coast

Baskets

In Pacific Coast region

Weaved so tightly they can hold water

Art passed down maternally

Pomo Feather Basket. California. Before 1920. Feathers, beads, and shells. 4” × 13" × 13”. Southwest Museum of the American Indian Collection, Autry Museum, Los Angeles; 811.G.1683. Photograph: Larry Reynolds. [Fig. 20-30]

Native North America (9 of 9)

20.3 Examine the continuation of artistic traditions in native North American cultures.

Pacific Northwest

Northwest Coast peoples

Totem poles dedicated to mythology

Tlingit Community House

Abstract animal shapes

Tlingit Community House. Ketchikan, Alaska. Doug Wilson/Alamy Stock Photo. [Fig. 20-31]

Mesoamerica and South America (1 of 9)

20.4 Describe media and functions of art in Mesoamerica and South America.

Mesoamerica

Olmec culture near today’s Mexico City

City of Teotihuacan

Pyramid of the Sun

Among largest pyramids in the world

Sits over a deep cave

Aligned to face sunset on August 12, the first day of Mayan calendar

Pyramid of the Sun. Teotihuacan, Mexico. 1st–7th century CE. 700’ wide, 200’ high. Kate Connes/Shutterstock. [Fig. 20-32]

Mesoamerica and South America (2 of 9)

20.4 Describe media and functions of art in Mesoamerica and South America.

Mesoamerica

Olmec culture near today’s Mexico City

Temple of the Feathered Serpent

Opposite the Pyramid of the Sun

Relief heads of the storm god

Temple of the Feathered Serpent (detail). Teotihuacan, Mexico. 150–200 CE. © Vladimir Korostyshevskiy/Shutterstock. [Fig. 20-33]

Mesoamerica and South America (3 of 9)

20.4 Describe media and functions of art in Mesoamerica and South America.

Mesoamerica

Maya

Hundreds of stone temples at Tikal

Temple I

200-foot pyramid with temple at top

Walls and roofs richly carved and painted

Mesoamerica and South America (4 of 9)

20.4 Describe media and functions of art in Mesoamerica and South America.

Mesoamerica

Maya

Lintel 24 from Yaxchilan

Written symbols along edges

Fleshy figures performing ritual

Lintel 24. Yaxchilan. Mexico/Guatemala. Maya.

Mesoamerica and South America (5 of 9)

20.4 Describe media and functions of art in Mesoamerica and South America.

Mesoamerica

Toltec civilization

Bridge between Maya and Aztec peoples

Recumbent figure from Chichen Itza ("Chacmool")

Bowl held sacrificial offerings

Massive carved figure

Chacmool. 10th–12th century. Toltec. Stone. Length 42". akg-images/François Guénet. [Fig. 20-36]

Mesoamerica and South America (6 of 9)

20.4 Describe media and functions of art in Mesoamerica and South America.

Mesoamerica

Aztecs

Artistic style sums up preceding styles

Human sacrifices at pyramid honoring both storm god and war god

Vessel of the Feathered Serpent Quetzalcoatl

For sacrificial offerings

Typical of Aztec art’s menacing aspects

The Feathered Serpent Quetzalcoatl. Mexico. Aztec, 1450–1521. Stone. Aztec. Museo Nacional de Antropologia, Mexico City/Bridgeman Images. [Fig. 20-37]

Mesoamerica and South America (7 of 9)

20.4 Describe media and functions of art in Mesoamerica and South America.

South America

Incas

Skillful shaping and fitting of stone

Royal retreat center of Machu Picchu (modern-day Peru)

Escaped Spanish detection

Seems to be part of the mountainside

Machu Picchu, Peru. Inca. Early 16th century. ckchiu/Shutterstock. [Fig. 20-38]

Mesoamerica and South America (8 of 9)

20.4 Describe media and functions of art in Mesoamerica and South America.

South America

Nazca peoples

Geometric lines and patterns in sand

Perfectly straight lines for miles

Hummingbird. Nazca Valley, Peru. Tomaz Kunst/Getty Images. [Fig. 20-39]

Mesoamerica and South America (9 of 9)

20.4 Describe media and functions of art in Mesoamerica and South America.

South America

Kero cups

One of few surviving Inca art forms

Carved and painted for ancient rituals

Flat patterns

Stylistic descendants of pottery and textile design

Kero Cup. Peru. Late 16th–17th century. Wood with pigment inlay. 7-3⁄8” × 61-5⁄16”. Brooklyn Museum of Art, Museum Expedition 1941, Frank L. Babbott Fund. 41.1275.5. [Fig. 20-40]