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Seeing Africa
- Studies in World Art, Book 70
- Narrated by: Gerard Marquez
- Length: 7 mins
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Thirty thousand years ago our prehistoric ancestors painted perfect images of animals on walls of tortuous caves, most often without any light. How was this possible? Scholars and archaeologists have for centuries pored over these works of art, speculating and hoping to come away with the key to the mystery. David and Lefrre give us a new understanding of an art lost in time, revealing what had until recently remained unexplainable - the oldest enigma in humanity has been solved.
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4 out of 5 stars
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Amazing conclusion that will change your views
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C.S. Lewis, J.R.R. Tolkien, and the Inklings met each week to read and discuss each other's work-in-progress, offering both encouragement and blistering critique. How did these conversations shape the books they were writing? How does creative collaboration enhance individual talent? And what can we learn from their example? Bandersnatch offers an inside look at the Inklings of Oxford, and a seat at their table at the Eagle and Child pub.
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5 out of 5 stars
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The Inklings and the Creative Process Opened Up
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Publisher's Summary
The Tate Britain’s "display", Seeing Africa - it was hardly big enough to be called a proper exhibition - raised more questions than it answered. Consisting of paintings and sculptures drawn from a single private collection, it aimed to explore the subject of Africanisme through images of African people and African landscape made by European painters who traveled to the Dark Continent at the height of the colonial epoch. That is to say between the 1870s and the 1950s.
The focus of the collection was the vast Central African territory that was first called the Congo Free State when it was the private possession of King Léopold II of Belgium and later, simply the Belgian Congo. Not surprisingly, the majority of the artists represented were Belgian. Most were very minor figures in art historical terms, though there were one or two who were a little better known, chief among them Floris Jespers, best described as a slightly belated Belgian Cubist, with points of resemblance to Fernand Léger.
