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Denver Museum Culture And Visual Identity: The Essay

Denver Museum Culture and Visual Identity:

The art piece chosen is "Soliloquy: Life's Fragile Fictions" painted by Moyo Ogundipe in 1997. Ogundipe is from Nigeria and belongs to the Yoruba culture. Many of the elements within the painting express the ideas and customs of the Yoruba people. The Yoruba people founded their particular part of Nigeria in approximately the 12th century AD. Art was a very important part of the culture; they were especially known for their statues featuring images of human beings. Yoruba religious practices and natural elements were also common characteristics of artwork from the region. The Yoruba were primarily an agricultural people who were harvesters rather than hunters (Mullen). Everything that possessed a life force was considered of equal importance to the Yoruba. They would take the same amount of effort in naming their children as their pets, putting both through a special ceremony.

According to researchers, the Yoruba culture is an African community which is very close to nature. The presence of the birds and the horsemen...

Bright colors and overlapping patterns are also customary to the Yoruba culture. The use of bright colors and textures is used to show the emotion behind the particular piece of artwork. Dance and celebration were an important part of Yoruba culture and the intent was to relate the importance of these things through the various pieces of artwork. Additionally, the central figure is emblematic of the importance of femininity in the Yoruba culture, a figure not many other cultures would have chosen to incorporate in such a prominent way.
2. Meaning and Themes:

In the center of the painting are two characters: one very obviously a woman and one who seems to be a male on top of a horse. The woman is green and she has brown hair that comes out of her head in strict lines. Her entire body is patterned, as is the rest of the painting. The female goddess was an extremely important component of the Yoruba culture and thus she is the most prominent part of the painting (Folarin). The woman's color also shows…

Sources used in this document:
Works Cited:

Folarin, Agbo. "Maternal Goddess in Yoruba Art: A New Aesthetic Acclamation of Yemoja,

Oshun and Iyo-Mapo." Passages. Ann Arbor, Michigan: MPublishing. 1993. Print.

Mullen, Nicole. "Yoruba Art and Culture." Phoebe A. Hurst Museum of Anthropology.

Berkeley, CA: UC Berkeley. Web 2012. http://wysinger.homestead.com/yoruba.html
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