Comment se constituent les collections : l’exemple sénoufo

This essay attempts to show that, if the constitution of the Senufo collections follows the vagaries of the western discovery of Southern Arts, it also presents some specificities related to collectors and institutions that have received these collections. The former presence of missionary collectio...

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Autor principal:	Pierre Boutin
Formato:	article
Lenguaje:	EN FR
Publicado:	OpenEdition 2014
Materias:	Senufo statues collections mask Archaeology CC1-960 History of the arts NX440-632
Acceso en línea:	https://doaj.org/article/d9d2184379ca4c56a206b8908fd2e4ff
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id	oai:doaj.org-article:d9d2184379ca4c56a206b8908fd2e4ff
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spelling	oai:doaj.org-article:d9d2184379ca4c56a206b8908fd2e4ff2021-12-02T10:48:05ZComment se constituent les collections : l’exemple sénoufo2431-204510.4000/aaa.222https://doaj.org/article/d9d2184379ca4c56a206b8908fd2e4ff2014-09-01T00:00:00Zhttp://journals.openedition.org/aaa/222https://doaj.org/toc/2431-2045This essay attempts to show that, if the constitution of the Senufo collections follows the vagaries of the western discovery of Southern Arts, it also presents some specificities related to collectors and institutions that have received these collections. The former presence of missionary collections (first quarter of the twentieth century) must be mentioned. Then disparate objects collected in the field were organized in small collections that have taken place in Metropolitan or African public museum collections. Ethnological and aesthetic studies, much later, are often related to temporary exhibitions. Thematic approaches of materials and techniques are later (last quarter of the twentieth century). Regional studies have come last with the upraise of African Museums (National or Regional) whose future is now far from assured. In this way could begin the return of artefacts to their primary users and to the artists who produced them.Pierre BoutinOpenEditionarticleSenufostatuescollectionsmaskArchaeologyCC1-960History of the artsNX440-632ENFRAfrique Archéologie Arts, Vol 10, Pp 47-59 (2014)
institution	DOAJ
collection	DOAJ
language	EN FR
topic	Senufo statues collections mask Archaeology CC1-960 History of the arts NX440-632
spellingShingle	Senufo statues collections mask Archaeology CC1-960 History of the arts NX440-632 Pierre Boutin Comment se constituent les collections : l’exemple sénoufo
description	This essay attempts to show that, if the constitution of the Senufo collections follows the vagaries of the western discovery of Southern Arts, it also presents some specificities related to collectors and institutions that have received these collections. The former presence of missionary collections (first quarter of the twentieth century) must be mentioned. Then disparate objects collected in the field were organized in small collections that have taken place in Metropolitan or African public museum collections. Ethnological and aesthetic studies, much later, are often related to temporary exhibitions. Thematic approaches of materials and techniques are later (last quarter of the twentieth century). Regional studies have come last with the upraise of African Museums (National or Regional) whose future is now far from assured. In this way could begin the return of artefacts to their primary users and to the artists who produced them.
format	article
author	Pierre Boutin
author_facet	Pierre Boutin
author_sort	Pierre Boutin
title	Comment se constituent les collections : l’exemple sénoufo
title_short	Comment se constituent les collections : l’exemple sénoufo
title_full	Comment se constituent les collections : l’exemple sénoufo
title_fullStr	Comment se constituent les collections : l’exemple sénoufo
title_full_unstemmed	Comment se constituent les collections : l’exemple sénoufo
title_sort	comment se constituent les collections : l’exemple sénoufo
publisher	OpenEdition
publishDate	2014
url	https://doaj.org/article/d9d2184379ca4c56a206b8908fd2e4ff
work_keys_str_mv	AT pierreboutin commentseconstituentlescollectionslexemplesenoufo
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Comment se constituent les collections : l’exemple sénoufo

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