{"id":91862,"date":"2023-10-19T17:23:29","date_gmt":"2023-10-19T16:23:29","guid":{"rendered":"https:\/\/jazairhope.org\/?p=91862"},"modified":"2023-10-19T17:23:29","modified_gmt":"2023-10-19T16:23:29","slug":"baya-the-artist-picasso-envied","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/en\/baya-the-artist-picasso-envied\/","title":{"rendered":"Baya, the Artist Picasso Envied"},"content":{"rendered":"

An exhibition of the Algerian modernist\u2019s early work challenges French perception of Algerian culture \u2013 and more<\/strong><\/p>\n

In a cool, dark chamber off the courtyard of Marseille\u2019s municipal museum, La Vielle Charit\u00e9, a four-legged creature with bulging eyes and a feathered headdress atop a mane of long straight hair sits calmly on a pedestal. This beast seems to absorb the whole of existence through its enormous eyes. Made of lightly painted clay,\u00a0B\u00eate grise<\/em>\u00a0(\u2018Grey beast\u2019, 1947) is one of a handful of sculptures by Algerian artist Baya (Fatma Haddad, 1931\u20131998). It joins roughly two dozen other works, almost all of which date to the late 1940s, on view in a landmark survey exhibition,\u00a0Baya: Femmes en leur jardins<\/em>\u00a0(Women in their gardens).<\/p>\n

Born in 1931 in a town then-called Fort-de-l\u2019Eau (now Bordj El Kiffan), Baya lost her father at the age of five. Her mother remarried into a large Kabyle family, who introduced her to the rich world of traditional ceramics. In 1940, her mother also died, and Baya went to live and work with her grandmother on a colonial farm. By chance, the farm owner\u2019s sister, an amateur artist and arts educator named Marguerite Caminat, took an interest in Baya. In 1943, Caminat came to an agreement with the child\u2019s grandmother whereby Baya would come to live with the Frenchwoman in Algiers. Caminat remained her legal guardian until she turned 21. In the intervening nine years, she would introduce Baya to intellectuals and artists, both Algerian and European, and travel with the young artist on several occasions to work and exhibit her art in France. Baya left Caminat\u2019s home in 1952 and the following year she married renowned composer Mahfoud Mahieddine , who was actively involved in the struggle for Algerian liberation (1954 \u20131962). Her support for this political cause and the demands of family life combined to keep the artist from producing new work for almost a decade. She came back to painting in 1961 and remained active both in Algeria and internationally until her death in 1998, though she never returned to ceramics after her marriage.<\/p>\n

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Baya,\u00a0Femmes et cithare<\/em>, 1966. Collection of Mus\u00e9e Cantini, Marseille. Photo: David Giancatarina. \u00a9 Ville de Marseille \/ RMN Grand Palais<\/figcaption><\/figure>\n

Femmes en leur jardins<\/em>\u00a0(Women in their gardens) attenuates an exhibition orthodoxy concerning Algeria \u2013 namely that its cultural development emerged from exposure to art under the French colonial regime which lasted over a century between 1830 and 1962, and that Algerian art\u2019s most significant actors evolved artistically through contact with France. For example, the exhibition\u00a0Alg\u00e9rie Mon Amour<\/em><\/a>\u00a0<\/em>(18 March\u201321 July 2022) at the Institut du Monde Arabe in Paris was organised to \u2018bear witness to the fraternity and solidarity that bound Algerian and French artists and intellectuals together during the most difficult years of their shared history, a fraternity and solidarity that continue to this day\u2019. The long war for Algerian liberation rejected precisely this kind of implicit bind. Algerians fought for and won subjective autonomy, and with it an autonomous narrative for art and culture rather than one inexorably tethered to their coloniser.<\/p>\n

Yes, the exhibition\u2019s framework, positioning Baya\u2019s strange, birdlike women as perpetual residents of their own gardens, reproduces some of the worst orientalist tropes about Algerian women. Yes, the catalogue contextualises decades of virtuosic painting and sculpture by reprinting essays from the 1970s, \u201980s and \u201990s with titles such as \u2018Baya, child painter\u2019 and \u2018Baya the magician, Baya the enchanting\u2019 \u2013 certainly, by now, it is politically unconscionable to continue to infantilize such an important figure in Algerian art history. This is still an exhibition made in France, after all, which few would argue has fully grappled in a meaningful way with its violently racist colonial legacy.<\/p>\n

And yet,\u00a0Femmes en leur jardins\u00a0<\/em>is groundbreaking. It\u00a0shows\u00a0<\/em>the work which has rarely been shown before in France, and not in the context of relationship to France, but by focusing on what the work was nourished by, or what it nourished in turn. On view is a vase in white argyle made by Picasso,\u00a0Femme \u00e0 l\u2019amphore<\/em>\u00a0(\u2018Amphora woman\u2019, 1947). The distinctive pear-shape of a woman with ample hips and a small head is hollow, confirming a classic trope: woman-as-useful-void. Picasso was a resident at ceramist Suzanne Rami\u00e9\u2019s studio complex in the south of France, and that summer Rami\u00e9 had also invited the young Baya. Picasso\u2019s woman-shaped vase is set here next to a sculpture by Baya made the same year,\u00a0Femme portant une coupe<\/em>\u00a0(\u2018Woman carrying a bowl\u2019). Baya\u2019s woman is solid clay and she purposefully grasps the vessel. The womens\u2019 facial expressions are similar, as is the sense of movement conveyed by the irregularity in their respective contours. The wall label explains that the elder artist was curious about what Baya was making and, according to some visitors to the ceramic studio at the time, a bit jealous of the younger artist\u2019s abundant creativity \u2013 a remark that corrects the often-repeated narrative that Picasso was a major influence on the Algerian\u2019s artistic development.<\/p>\n

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Baya,\u00a0Masque blanc de l\u2019artiste (atelier Madoura)<\/em>, 1948. Collection of the Institut du Monde Arabe, Paris. Photo: Philippe Maillard. \u00a9 Mus\u00e9e de l\u2019IMA<\/figcaption><\/figure>\n

Beyond revising the way one artist\u2019s work is displayed, beyond showing an expanded and richly documented story of Baya\u2019s encounters in Europe and her influence in artistic circles in Algeria, this exhibition also draws a visual correlation between an undeniably modernist artistic practice and the material tradition indigenous to North Africa. The most spectacular example thereof is the juxtaposition of a vivid blue silk caftan almost entirely covered with intricate silver embroidery, and a series of gouaches featuring a woman in a flowing, embroidered blue dress. The objects come from the Institut du Monde Arabe\u2019s collection, which may seem old-fashioned, but felt fresh to me here. To be clear, the woman in the painting is not wearing a caftan, but the complex, abstract patterning in saturated colours (so characteristic of Baya\u2019s oeuvre) is effectively anchored elsewhere than in a comparison to Mir\u00f3 or Matisse. Her appreciation for flat, all-over blocks of colour loosely tethered to women and animal figures is returned to its proper ground: the ancient and highly sophisticated abstract ornamentation that is prevalent in North Africa.<\/p>\n

This in return is exhilarating, especially in the context of a nation convulsed by the rise of the right wing and a wave of police violence against citizens of colour, of which the killing of 17-year-old Nahel Merzouk by police in Nanterre and the violent uprisings in response in July 2023 are only the most recent examples. An exhibition with cases full of letters, objects borrowed from an institution established in order to educate French citizens about Arab culture and formal juxtapositions might seem like traditional museum fare, but they demonstrate many decades of recognition by French artists, art critics and philosophers of the magnitude of Baya\u2019s aesthetic contribution to their own imaginative universes. This kind of multivalent recognition of Algeria\u2019s history and aesthetic agency is precisely what the polarization of public space in France obscures.<\/p>\n

Natasha Marie Llorens\u00a0is an independent curator and writer based in Stockholm, where she is professor of art and theory at the Royal Institute of Art.<\/em><\/p>\n

Source : https:\/\/artreview.com\/baya-the-artist-picasso-was-jealous-of\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

An exhibition of the Algerian modernist\u2019s early work challenges French perception of Algerian culture \u2013 and more In a cool, dark chamber…<\/p>\n","protected":false},"author":50,"featured_media":91863,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[15,10,4],"tags":[],"class_list":["post-91862","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-algeria","category-art","category-featured-articles"],"yoast_head":"\nBaya, the Artist Picasso Envied - AAH.JZR<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jazairhope.org\/en\/baya-the-artist-picasso-envied\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Baya, the Artist Picasso Envied - 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