Empress of the Blues by Romare Bearden

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Romare Bearden was born in 1911 in Charlotte, N.C. Romare Bearden lived at various times in Saskatchewan and Pittsburgh. Bearden attended Boston University and New York University. Later, he studied with the German expatriate George Grosz at the Art Students’ League. His first job, in 1938, was as a caseworker with the New York City department of social services.

Following a wartime stint with the U.S. Army, one of his works was accepted into the biennial exhibit at the Whitney Museum. Thus encouraged, he sailed for France, where he studied philosophy at the Sorbonne. Still, Bearden did not ignore his origins.

Romare Bearden emerged as a major artist in the 1960s, at the height of the civil rights struggle. His “photomontage projections” — made up of images snipped from newspapers and magazines, then enlarged photographically — perfectly captured the tension, alienation and dislocation of contemporary black life. In this he was distinctly a man of his era, and of his people. Bearden passed away in 1988 at the age of 76.

SOLD – Table Tray

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joe98

SOLD
Table Tray
Wood – Ghana
Size 3′ L Approx

It is obvious that cylindrical pole sculpture can develop from any long-shaped material, not necessarily from wood. An excellent variant is the ivory elephant-tusk. It is clear, too, that if an artist wants to retain the unity of a slender unbroken line in his sculpture, working from a single block without the addition of any other piece, he will not be able to portray any detail exceeding the limits of the original cylinder. From this arises a further characteristic of African sculpture – its lack of proportion. There is a wooden African sculpture currently on display (2011) at the Metropolitan Museum of Art in New York, for instance, comprising a horse and a rider. But in comparison with the rider, the horse is so small that some people might think it was meant as a caricature, except the artist had no such intention. It was simply that within the limits of his tusk he had no means of making the horse large enough to be in proportion to the rider, and since he was principally concerned with the rider, the size of the horse did not trouble him.

Not all African wood sculpture is based on this principle. The round block can be more extensively elaborated into a progressively more realistic form which has no resemblance to the original shape of the material. Sculpture of this kind is found in the parklands of the Cameroons, through the whole of the Congo region, and in the east among the Makonde tribe.

SOLD – Woman With Kid on Back

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joe91

SOLD
Woman With Kid on Back
Wood – Ghana
Size 5′ Approx

It is obvious that cylindrical pole sculpture can develop from any long-shaped material, not necessarily from wood. An excellent variant is the ivory elephant-tusk. It is clear, too, that if an artist wants to retain the unity of a slender unbroken line in his sculpture, working from a single block without the addition of any other piece, he will not be able to portray any detail exceeding the limits of the original cylinder. From this arises a further characteristic of African sculpture – its lack of proportion. There is a wooden African sculpture currently on display (2011) at the Metropolitan Museum of Art in New York, for instance, comprising a horse and a rider. But in comparison with the rider, the horse is so small that some people might think it was meant as a caricature, except the artist had no such intention. It was simply that within the limits of his tusk he had no means of making the horse large enough to be in proportion to the rider, and since he was principally concerned with the rider, the size of the horse did not trouble him.

Not all African wood sculpture is based on this principle. The round block can be more extensively elaborated into a progressively more realistic form which has no resemblance to the original shape of the material. Sculpture of this kind is found in the parklands of the Cameroons, through the whole of the Congo region, and in the east among the Makonde tribe.

Stephanie by Andrew Turner

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Baba Agba(Grand pa)

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size;36by42inches

medium;oil on canvas

price;$3,500

Am ADEKUNLE OMOFEMI OLUWOLE was born in the late eighties in the brown roofs city;Ibadan.He had his ND in fine art and HND in paintings from the Polytechnic Ibadan.He had participated in many group exhibitions locally and internationally.He is a member of the world touring art group,’Cuore de Diona’ based in Italy.He is interested in historical themes and early childhood experiences and these are recurrent themes,one will find in Femi’s works.Femi’s works are widely collected in Nigeria and outside Nigeria.

baba agba(baba agba),oluwole omofemi

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size;36by42inches

medium;oil on canvas

price;$3,500

Am ADEKUNLE OMOFEMI OLUWOLE was born in the late eighties in the brown roofs city;Ibadan.He had his ND in fine art and HND in paintings from the Polytechnic Ibadan.He had participated in many group exhibitions locally and internationally.He is a member of the world touring art group,’Cuore de Diona’ based in Italy.He is interested in historical themes and early childhood experiences and these are recurrent themes,one will find in Femi’s works.Femi’s works are widely collected in Nigeria and outside Nigeria.

curious mind,oluwole omofemi

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size;33by39inches

medium;oil on canvas

price;$3,000

Am ADEKUNLE OMOFEMI OLUWOLE was born in the late eighties in the brown roofs city;Ibadan.He had his ND in fine art and HND in paintings from the Polytechnic Ibadan.He had participated in many group exhibitions locally and internationally.He is a member of the world touring art group,’Cuore de Diona’ based in Italy.He is interested in historical themes and early childhood experiences and these are recurrent themes,one will find in Femi’s works.Femi’s works are widely collected in Nigeria and outside Nigeria.