HANDS OF MASTERS, ANONYMOUS WORKS: MARKS OF AN AFRICAN BRAZIL OR A BRAZILIAN AFRICA IN MUSEUM OBJECTS

Abstract

<doi>10.12957/tecap.2014.16240

By looking at ancient works of wood carving from Afro-Brazilian cults preserved in museums and other public collections, Marianno Carneiro da Cunha discerned stylistic-morphological elements of a “nagô-yorubá” sculptural tradition in Brazil. Trying to contextualize, refresh and amplify this analytical perspective, we present a brief bibliographic discussion on the subject matter in the title and reexamine the problem by introducing other known pieces to the analytical corpus.   We also profiled stylistic traits to demonstrate how some of these pieces may be part of an emblematic visual repertory of studies on the Negro in Brazil. From an original set of iconographic references, we suggest as conclusion a case study for the years 1880-1890, therefore promoting the discussion of reflux processes from Brazil to Africa in the field of artistic sculpture.