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Created with Fabric.js 1.4.5 stay how people south african arthistory ofpaintings History of South African Art 4000 Year Old Art Gallery... 4000 Year Old Art Gallery days everyone is connected to the internet through computers. Whether mobile phones, laptops or tablets people are consuming more internet bandwidth globally. People spend more time each year online browsing the internet for all types of information. San Bushmen, Africa's oldest hunter-gatherers created a vast body of art on the walls of caves and rock shelters the largest and most concentrated group of rock paintings in sub-Saharan Africa. Colonial Art - 19th Century San Bushmen, Africa's oldest hunter-gatherers created a vast body of art on the walls of caves and rock shelters the largest and most concentrated group of rock paintings in sub-Saharan Africa. The 20th century and apartheid In the first decades of the 20th century, the Dutch-born painter JH Pierneef brought geometric sensibility to the South Africanlandscape; he also, in a way that fed into Afrikaner nationalist ideology, found it bereft of human inhabitants."An Extensive View of Farmlands" By the 1930s, Irma Stern brought the techniques and sensibilities of post-impressionism and expressionism to South African art. Her use of bold colour, composition and highly personal point of viewrather scandalised those with old-fashioned concepts of acceptable art."Malay Girl" Impact of African forms Walter Battiss, developed an interestin rock art and returned repeatedly to themotifs and styles of San rock art. San-type figures and patterns become stylised into a kind of symbolic alphabet."In Symbols of Life (1967)" Cecil Skotnes, became South Africa's master of the woodcut, bringing European modernism into fruitful collision with African styles."City Bowl landscape" Black artists such as Gerard Sekoto depicted their realities and environments in a more direct manner. Naturalism gives way to severe stylisation: a rank of workers wieldpicks in unison, forming a powerful image of African labour; a white overseer's figure is dwarfed, even threatened, by this phalanx of diggers -"Song of the Pick" George Pemba, often naïvely styled work focused on the simple lives of poor black people, humbly and sometimes humorously evincing their fundamental humanity. Lack of resources meant that many had to rely on media other than oil-painting, but making a virtue of necessity gave added force to their work. Dumile Feni (knownas Dumile), for instance, became a master ofdrawing, often in ballpoint pen."Untitled" Black artists such as Vuyile Cameron Voyifw also made striking use of the accessible and relatively cheap medium of the linocut extending this work into what has become practically a subgenre of its own."Blissful Swing II" The outsiders' view South Africa's most successful "outsider" artist is perhaps the Russian émigré Vladimir Tretchikoff, who developed a distinctive style in which arch sentimentality was rendered with virtuoso formal exactitude. From the 1960s on, many South African artists responded to developments in American and British art. The playful surfaces of Kevin Atkinson opened the dialogue with pop art. A wide range of styles and modes were now available to South African artists, and the likes of Andrew Verster extended the traditions of oil painting into personal expressions of life, society and the world around them. Apartheid in crisis: 1970s and 1980s As the apartheid state became more repressive in the 1970s and 1980s, many artists faced the harsh realities of South African life, sometimes obliquely, sometimes head-on. Paul Stopforth made a series of works dealing with police torture - the cause of the death of resistance heroes such as Bantu Steve Biko. William Kentridge used expressionist drawings and highly developed personal metaphors, symbols and characters to expose the hypocrisies and ironies of white South African life. The crowded collages, pastels and charcoals of Helen Sebidi spoke ofthe struggle of human life; her figures seem to battle upwards, towards the picture plane, as though they were drowning. In the 1980s, "resistance art" was increasingly recognised as a genre of expression directed at the white elite's oppressive exercise of power. Thamsanqa (Thami) Mnyele produced works dealing with emotional and human consequences of oppression. Conceptual art of the 1990s Conceptual art in South Africa seemed to come into its own in the 1990s. Media such as video, performance and installation took the place of painting. Even refuse was turned into suggestive assemblages and collages by Moshekwa Langa. Other artists put a conceptual spin on traditional artforms: Jo Ractliffe worked with photography to investigate personal and familial memory, death, decay and love. Conceptual art of the 1990s While "high art" continues to blossom in South Africa, the market for crafts has expanded to include every possible form of traditional artwork. For example, The Ndebele tradition of house-painting exploded with the advent of commercial paints, giving rise to artists such as Esther Mahlangu, whose adaptations of the highly coloured geometric designs everything from cars to aeroplanes. Beginning in the late 1940s, Alexis Preller painted African scenes and themes such as Hieratic Women, but these were not realistic portraits ofAfrican life: instead, they were reinventedby Preller's startling visual imagination. At the same time, the status of the traditionally anonymous maker of craft works is changing: "folk art" has made inroads into "high art". For example, in the 1990s the work of late ceramicist Bonnie Ntshalintshali went well beyond the confines of traditional African pottery, yet her exquisite creations could conceivably still be used at the dinner table. Sources:http://www.mediaclubsouthafrica.comhttp://angolarising.blogspot.comhttp://www.thegreatkaroo.comhttp://www.africansuccess.orghttp://www.artthrob.co.zahttp://af.wikipedia.org/wiki/L%C3%AAer:Irma_Stern.jpghttp://www.gauteng.nethttp://www.joburg.org.zahttp://marvellousartmusings.wordpress.comhttp://epicofeverlasting.withtank.comhttp://louiseniemann.blogspot.comhttp://www.johansborman.co.zahttp://remembered.co.zahttp://www.everything.co.zahttp://www.sahistory.org.zahttp://www.southafricanartists.comhttp://www.capegallery.co.zahttp://www.dailymail.co.ukhttp://mapmyway.co.zahttp://www.liveauctioneers.comhttp://www.thecrimson.comhttp://allaraexportart.blogspot.comhttp://www.theaustralian.com.au/arts/http://www.heiditrautmann.comhttps://za.linkedin.com/pub/norman-catherine/2b/6b4/9a1http://showme.co.za/lifestyle/flight-to-the-safety-of-the-old-masters/http://voiceseducation.org/content/thamsanqa-thami-mnyele-art-and-resistancehttp://en.wikipedia.org/wiki/Thamsanga_Mnyelehttp://moniquepelserportraits.blogspot.com/rhttp://www.artthrob.co.za/07oct/reviews/goodmanc.htmlhttp://shoeshopproject.co.za/participants/http://universes-in-universe.de/specials/africa-remix/langa/english.htmhttp://arttattler.com/archivesouthafricaonpaper.htmlhttp://wsoa.wits.ac.za/fine-arts/staff/http://petitcabinetdecuriosites.tumblr.com/post/37810826964/gillsant-esther-mahlangu-by-daniel-malva-onhttp://www.openafrica.org/experiences/participant/930-esther-mahlangu-ndebele-art-schoolhttp://www.ardmoreceramics.co.za/world-of-ardmore/artist?id=109 During the early colonial era, white South African artists tended to depict what they saw as a "new world", in accurate detail. Artists such as Thomas Baines travelled the country recording its flora, fauna, people and landscapes - "Elephants Charging over Quartos Country" Source: mediaclubsouthafrica.com Source: mediaclubsouthafrica.com Source: mediaclubsouthafrica.com Source: artthrob.co.za Source: mediaclubsouthafrica.com Source: louiseniemann.blogspot.com Source: marvellousartmusings.wordpress.com Source: artlink.co.za Source: everything.co.za Source:artthrob.co.za
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