File:Dance Helmet Mask, Cameroon, Brücke-Museum Berlin, 65042, view a.jpg
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Original file (6,196 × 8,270 pixels, file size: 31.69 MB, MIME type: image/jpeg)
Captions
Captions
Dance Helmet Mask, Cameroon, 19th–20th century, front view
Summary
Object
| Artist |
English: once known creator
Deutsch: einst bekannte*r Urheber*in |
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| Description |
English: Dance Helmet Mask
Deutsch: Tanzaufsatzmaske |
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| Date | from 19th century until 20th century | |||||||||||||||||||||||
| Medium | wood, patination (Q108063964), Fassung (Q1225161) | |||||||||||||||||||||||
| Dimensions | height: 38 cm (14.9 in); width: 22.3 cm (8.7 in); depth: 14 cm (5.5 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H 79 |
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| Place of creation | Cameroon (Q1009) | |||||||||||||||||||||||
| Object history |
transferred to Karl und Emy Schmidt-Rottluff Stiftung from Karl Schmidt-Rottluff |
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| Notes |
English: The mask with a male face was worn on the head like a helmet, like the buffalo mask from this collection. The face of the wearer was covered by a net fabric or raffia. The dance costume was complemented by a magnificent tunic-like garment.
Deutsch: Die Maske mit einem männlichen Gesicht wurde, wie die Büffelmaske aus dieser Sammlung, wie ein Helm auf dem Kopf getragen. Das Gesicht des Trägers war durch einen Netzstoff oder Raffiabehang verdeckt. Ergänzt wurde das Tanzkostüm durch ein prächtiges tunikaartiges Gewand. |
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Photograph
| Description |
English: Dance Helmet Mask, Cameroon, 19th–20th century, front view  |
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| Date | ||||
| Source | BrückeMuseumBerlin | |||
| Author | Nick Ash, Berlin | |||
| Permission (Reusing this file) |
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| Other versions |
The estate of Karl Schmidt-Rottluff, owned by the Karl and Emy Schmidt-Rottluff Foundation at the Brücke Museum, contains his collection of around 100 sculptures and objects with colonial backgrounds. The Brücke artist himself never travelled outside Europe and, to the best of current knowledge, bought these objects in the art trade and from private owners from the 1910s onwards. The collection includes ritual and everyday objects, alongside souvenirs for the Western market. The way they were perceived underwent changes: they came to be seen as objects of art and decoration. Little is known of their origins, the circumstances of their acquisition, or the historical and current importance of the objects. Most of them originate from Germany’s former colonies, thus referring directly to German Expressionists’ entanglements in the often unlawful appropriation of material culture in colonially occupied lands. More
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File history
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| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 09:41, 13 August 2021 | | 6,196 × 8,270 (31.69 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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