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By Ladislas Segy

163 full-page plates Illustrating mask, fertility figures, ceremonial items, etc., of fifty West and primary African tribes—95% by no means prior to illustrated. 34-page creation to African sculpture.
«Mr. Segy is one in all its most sensible authorities,» New Yorker.
164 full-page photographic plates.

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This magnificent coordination of content and expression, the incredible organic relationship of sculpture to psy- chological needs, places African sculpture among the great meaning of form and coordination and communicative quality which is our first art traditions. It is the aesthetic quality, the interest in the study of African art. by sheer contemplation of the And work this can be obtained itself. But determining the nature of our aesthetic feelings, satisfying our intellectual background of the artistic object we adan entirely different matter.

Plate 153, a the same principle. Here, however, the interplay of angularity and roundness is markedly strengthened by the shape of the chin and the form of the legs. Both this statue and the Azande statue are obviously phallic. The Ouobe-Guere mask from the Ivory Coast (Plate 30) is very boldly constructed. It consists of three large masses: forehead, nose, and mouth. The upper parts of all three are round, but each is bisected by a straight line, which forms great dramatic contrast between curves and straight lines.

Dict this. Instead, am I And I do not intend to contra- only reaffirming the power of the African artist to show in the very same carving the struggle between opposite forces, and at the same time unite them into The tension between the symbols of two sexconsummated in the overall aspect of African sculpture; tension is released and unity attained. a compact unity. forces seems to be This is a very great artistic achievement, for, in addi- round and angular shapes may also be tion, the display of interpreted as indicating the inner storms of a life-struggle, or the forces which mold the individual.

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