African Art: The Foundation of Picasso’s Cubism

San Diego Mesa College World Art Collection

Spring 2025 Exhibition - Glass Gallery 1st Floor Learning Research Center

Picasso in his studio in the Bateau-Lavoir, Paris, 1908

Mask, Kru or Grebo Peoples, Liberia, 20th Century

Wood, pigment, feathers, cowrie shells, 24”, 35”, 30”

Gift of Robert V. Berg

CAT 2019 RB 14

Scroll down for more information and sources for further study

Pablo Picasso's Collection of art from Africa and the Pacific

Pablo Picasso (right) with his art dealer Daniel-Henry Kahnweiler in Picasso’s Villa La Californie near Cannes, France, in 1957

Picasso's appropriation of African Art

Pablo Picasso’s groundbreaking artistic transformation was deeply influenced by African and Pacific art, which played a crucial role in the development of Cubism. His exposure to African sculptures, particularly during a visit to the Trocadero Museum in Paris, marked a turning point in his artistic journey. The geometric abstraction, exaggerated features, and spiritual essence of African masks and sculptures provided Picasso with a radical new approach to form and representation. Additionally, his interactions with Henri Matisse, who introduced him to African art, and his rivalry with avant-garde artists drove him to break from classical artistic traditions. The direct impact of African aesthetics is evident in Les Demoiselles d’Avignon (1907), where Picasso deconstructed human figures into angular, fragmented forms reminiscent of tribal masks. The influence of Pacific art also contributed to his exploration of abstracted human forms and symbolic representation, reinforcing his rejection of traditional Western perspectives. This fusion of African, Pacific, and European artistic influences laid the foundation for Cubism, a movement that revolutionized modern art by prioritizing conceptual over realistic representation.

Masks, Kru or Grebo Peoples, Liberia, 20th Century

Wood, pigment, feathers, cowrie shells, 24”, 35”, 30”

Gift of Robert V. Berg

CAT 2019 RB 16, 14, 31

Except from the Musée Du Quai Branly Jacque Chirac:

"As enigmatic as they are renowned, these instantly recognizable “cubist” masks were attributed to the Grebo and Kru people settled in south-east Liberia and south-west Côte d’Ivoire. Long known as ‘Sassandra masks’, they were also used by the Bakwe, Godie and Neyo people1, also part of the Kru language group established in the Bas-Sassandra region near Soubré, San Pedro, Fresco and Sassandra in south-western Côte d’Ivoire.

Difficulties in their attribution can be explained by the analogy between the terms ‘crewmen’ and ‘Krumen’2 used to refer to men of diverse origins recruited in the maritime sector - this region of the Sassandra was particularly known for its maritime trade. The term Kru also encompasses a people in their own right, a language group comprised of over thirty peoples, as well as a socio-professional category referring to men known for their navigation skills.

Only very rare information exists on the original context and use of these so-called “geometric” masks. With the exception of a photo taken in situ in the 1880s, a single ancient testimony to this type of mask in context, their specific origin and function remain hypothetical due to a lack of documentation and in-depth field studies since the first examples brought back to Europe in the 19th century. Furthermore, it should be noted that the photo in question illustrated by Hugo Zöller in 1885 - considered staged by some - was not taken in Côte d’Ivoire or Liberia but in Cameroon or Gabon. This considerable distance compared to their place of origin can be explained by the movements of some ‘Krumen’ who took their masks with them during their travels, sometimes even to Europe where they sold them.3

These masks, most of which disappeared in Liberia due to the ‘Grebo Wars’4, represented spirits of nature or the forest as found among the We, Guere and Bete peoples, northern neighbors of the Grebo. Although used for mainly secular purposes today and for collective entertainment as among the Godie and Neyo5 people of Côte d’Ivoire, they were previously used, according to Alain-Michel Boyer, to “expurgate those who ate "doubles" (or souls for Christians), but that it also played a part in settling ritual conflicts between clans, in the case of a land contest, a hunting problem or the rape of a woman. With its numerous eyes, it could "watch" the fighters, but also "strengthen" them, in order to raise them above their status as men, and turn them into valiant warriors.”6 This type of mask was also used in funeral dances accompanied by various other animal or more figurative masks7. However, for Pierre Boutin, “the information we have [on these masks] is inversely proportional to their artistic fame. Contrary to other ethnic groups in south-western Côte d’Ivoire (We, Bete, Niabwa, etc.), […] we known […] nothing of their function, - entertainment, funerary, initiatory, judicial -, of the frequency of their appearances, - regular or exceptional -, nor the audience permitted to see them - open audience, extended or limited audience, with or without restriction regarding age or gender”.8"

SOURCE: https://collection-lacharriere.quaibranly.fr/en/anthropomorphic-mask-1

3 See Cohen, Joshua I., ‘Picasso’s Guitar (1912) and Two Ivoirian Masks’ in Colloque Picasso Sculptures, 24 March 2016, p. 3.

4 BOYER , Alain-Michel, ‘L’art des Grebo’ in Arts & Cultures, Geneva, 2010, pp. 141-142.

5 See Boyer, Alain-Michel, Between the seen and the unseen, Paris, Sotheby’s, 12 December 2017,.

6 Ibid.

7 Boyer, Alain-Michel, Grebo Mask, Paris, Sotheby’s, 13 June 2018, lot 26.

8 Boutin, Pierre, ‘Les masques « krou » de Côte d’Ivoire’ in Afrique, Archéologie, Arts, no. 5, 2007-2009.

Mbangu (sickness mask), Pende peoples, Democratic Republic of Congo, n.d.

Wood with red and white pigment, 11 x 8 “

Gift of Dr. John Ross

CAT 2016 JR 40

PICASSO AND ABSTRACTION

Pablo Picasso's artistic revolution was significantly shaped by his exposure to African art, particularly masks, which influenced his departure from traditional Western representation. In the early 20th century, African sculptures and artifacts, brought to Europe through colonialism, were displayed in museums but often dismissed as “primitive.” Picasso, captivated by their abstract, geometric, and spiritual qualities, integrated these elements into his work, most notably in Les Demoiselles d'Avignon (1907), where the angular, mask-like faces reflect African artistic influence. Other modernist artists, such as Maurice de Vlaminck and André Derain, also found inspiration in African art’s bold aesthetic. This influence played a crucial role in the development of Cubism and modern art, while also raising discussions about cultural appropriation and how non-European art was historically perceived through a colonial lens.

Picasso, Les Demoiselles d'Avignon (1907)

Mbangu (sickness mask), Pende peoples, Democratic Republic of Congo, n.d.

Wood with red and white pigment, 11 x 8 “

Gift of Dr. John Ross

CAT 2016 JR 40

The Pende people are composed of groups residing in the east, central and western part of D.R.C. as a result of forced migration from northern Angola. Due to the splintering of Pende society, they have developed a wide variety of artistic styles that represent cultural ideals. With several of the groups led by chiefs, there are many works that serve to reinforce the power of the king, also initiation as well as healing purposes. The mask shown here is recognized as a sickness mask due to the contrasting red and white pigment that bisects the face and a general distortion of facial features, specifically the twisted nose and mouth. The color white, symbolic of the spirits of the dead, in this case represents the hope of being cured of illness. The red pigment stands for the sickness and illness that ravages one throughout life. The combination of red against white symbolizes this struggle. It is believed that disease can be brought about by an act offending the spirits of ancestors and is often viewed as a punishment. Thus, many objects showing disease are used to instruct the community and to caution against destructive behavior. This is especially true of masks, which are danced to teach or remind members of the community about rules and responsibilities. The Pende people believe there is a direct correlation between disease and moral values. Disease is also attributed to sorcery. Sorcerers are believed to be capable of activating malevolent forces against individuals, families or the community, often in the form of physical or mental illness. This Mbangu mask serves as a sharp contrast with sculptures showing the ideal of health, other figures and masks represent a range of physical deformities caused by disease and mental imbalance. The Mbangu mask is a variation on the representation of a highly regarded hunter who has been stricken with facial paralysis. It demonstrates how even the most esteemed and upright member of the community can unexpectedly be afflicted with sickness. In this case, the Pende believe that the individual is a victim of sorcery, bewitched by a rival who jealously inflicted him with disease. This mask teaches Pende audiences about the rewards of good behavior and of the pitfalls of those who are morally flawed.

Source: Herreman, Frank. To Cure and Protect: Sickness and Health in African Art. Washington, D.C.: National Museum of African Art, Smithsonian Institution, 1989.

Ngil mask, Fang Peoples, Gabon

Wood, red and white pigment, 15”

Gift of Robert V. Berg

CAT 2019 RB 64

The Fang are divided into several subsets in three countries, Cameroon, Gabon, and the mainland of Equatorial Guinea. They are also the largest ethnic group in Gabon, making up about a quarter of the population. Mainly hunters and agriculturalists, they also produce numerous masks used in their secret societies. The Ngil, a secret society of the Fang peoples, act as police and judges, revealing sorcerers and handing down sentences to those who did not obey the law. The masks were generally coated with kaolin (the white pigment) which evokes the power of the ancestors. This mask incorporates stylistic features typical of Fang figurative carving: a very broad forehead with a double arch over the eyes, heart-shaped face, and projecting mouth. The contrasting red pigment The wearers of these masks, always in large numbers, made their appearance at night, lit by torches. Their intervention was also linked to the judicial function by identifying those who committed crimes within the village. The Ngil was also responsible for maintaining clan cohesion through religious and judicial associations.

Source: Blackmun-Visona, Monica, et. al. A History of Art in Africa. 2nd ed. Upper Saddle River, N.J.: Pearson: Prentice Hall, 2008

Guere Masks, We/Dan people; Ivory Coast/Liberia

Wood, trade cloth, plant material, 14” x 19”

Gift of Dr. Jack Johnson Kimbrough

CAT: 1993 JK10A

The Guere peoples (also known as We, Kran, and Wobe), live between the Dan and coastal peoples, and perform a wide variety of masquerades. This particular mask serves as a tool to maintain social order. The mask is performed for ceremonies, boys circumcision and to settle public disputes. Dancer and warrior masks similar to this are covered in patina and have wide, curving foreheads which symbolize wisdom and intelligence. With time, an elevation of hierarchical rank is possible with the masked spirits. Dancer and warrior masks similar to this are covered in patina and have wide, curving foreheads which symbolize wisdom and intelligence. Zoomorphic features of wild animals such as forest buffaloes and warthogs are usually present. Also visible are tubular eyes, broad, triangular nose with prominent nostrils, and arched tusks or horns at either side of the head. An open mouth reflects the importance of communication in the small, egalitarian society. The appearance of eagle feathers and hair of a sacrificed ram on the headdress denotes the ability to resolve disputes. The mask would be worn with voluminous skirts made of palm fibers and leaves. Panels of fur or leather with a fringe of cartridges would reflect an elevated social status to guard, or assistant, of a great mask. Rows of cowrie shells, associated with prosperity and fertility, line the top edge of the mask. Used in conjunction with bells, feathers, and nails, they are thought to reinforce the mask’s power. In addition to its raffia beard, the mask exhibits bulging, tubular eyes, a broad, triangular nose with prominent nostrils, and horns extending from either side of the head – all lending to its ability to evoke fear. Although visibly ferocious, the masks are also used primarily during funerals and are laden with the ability to detect guilty individuals.

Source: Blackmun-Visona, Monica, et. al. A History of Art in Africa. 2nd ed. Upper Saddle River, N.J.:

Kikashi mask, Songye Peoples, Democratic Republic of Congo, n.d.

Wood and pigment, 24”

Gift of Robert V. Berg

CAT 2019 RB 15

This African mask, known as the Kikashi mask from the Songye people, has a compact shape with almost vertical cheeks. The half-closed eyes are highlighted with white kaolin chalk, and the face features alternating curved streaks and diagonal grooves. The black-outlined crest is small but noticeable, while the tube-shaped mouth protrudes outward. The mask shows signs of wear, with damaged edges and a matte, worn surface.

There are three main types of Kifwebe masks (plural: Bifwebe), which belong to the "chasing death" society (as described by Roberts). The male mask (Kilume) usually has a tall crest, the female mask (Kikashi) has a low or no crest, and the tallest mask (Kia Ndoshi) represents power. These masks are still used today and are believed to have originated from the border area between the northern Luba and southeastern Songye regions. They are worn by Kifwebe dancers during ceremonies, who enter a trance-like state called "bwadi." The dancers wear long braided costumes and fiber adornments attached to the mask.

The Songye people migrated from the Shaba region in the Democratic Republic of Congo and settled along the Lualaba River, living in a mix of savannah and forests. They are led by the Yakitenge and local chiefs, but their power is balanced by the Bwami secret society. Male Kifwebe masks, believed to have mystical powers, were used during disciplinary and enforcement missions.

Source: Roberts, Allen F., and Mary Nooter Roberts, eds. Memory: Luba Art and the Making of History. New York: Museum for African Art, New York, 1996.

SOURCES FOR FURTHER STUDY:

Blier, Suzanne Preston. Picasso's Demoiselles: The Untold Origins of a Modern Masterpiece. Durham: Duke University Press, 2019.
Le Fur, Yves. Through the Eyes of Picasso: Face to Face with African and Oceanic Art. Paris: Flammarion, 2017.
Stepan, Peter. Picasso's Collection of African & Oceanic Art: Masters of Metamorphosis. Munich: Prestel, 2006.
Andrew Meldrum, Stealing Beauty, The Guardian. Wed. 15 Mar 2006. https://www.theguardian.com/artanddesign/2006/mar/15/art
"African Influences in Modern Art." The Metropolitan Museum of Art, accessed February 16, 2025. https://www.metmuseum.org/toah/hd/aima/hd_aima.htm.
Metropolitan Museum of Art New York - https://www.metmuseum.org/essays/collecting-for-the-kunstkammer
"Picasso and African Art." The Collector, accessed February 16, 2025. https://www.thecollector.com/picasso-and-african-art.
"Picasso's African Period." PabloPicasso.org, accessed February 16, 2025. https://www.pablopicasso.org/africanperiod.jsp.

Page updated

Google Sites

Report abuse