About the Artwork
The maker of this equestrian figure, a male Kongo chief named Voania, epitomizes the hybridization in African art following centuries of interactions with Europeans. In a departure from traditional gender roles, Voania took up pottery, a female profession in Kongo culture, to tap into the lucrative overland trade with Europeans. While he executed his vessels using traditional techniques, they lacked the practicality of Kongo pots, making them unappealing in the local market. Consequently, he focused exclusively on Westerners. His imagery of a suited European trader riding a horse or bull, a familiar figure of the European trade, would have appealed to his French and Belgian clientele. After learning to write, he inscribed his name (Voania) and village (Muba) on his pots, making them attractive as collectible art. Voania’s unconventional approach gained him a steady European patronage from the turn of the 1900s, a testament to his artistic vision and adaptability.
Male Equestrian Figure
between 1875 and 1910
Voania
1875 - 1928
African
Woyo
Terracotta
Overall: 17 × 10 1/4 × 7 5/16 inches (43.2 × 26 × 18.6 cm)
Sculpture
African Art
Founders Society Purchase with funds from the Friends of African and African American Art, the Arthur D. Coar Endowment Fund, Joseph H. Boyer Memorial Fund, and the Henry E. and Consuelo S. Wenger Foundation Fund
1994.47
Copyright Not Evaluated
Markings
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Provenance
Professor Robert Farris Thompson.(Alan Brandt, Inc., New York, New York, USA);
1994-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA)
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The exhibition history of a number of objects in our collection only begins after their acquisition by the museum, and may reflect an incomplete record.
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Credit Line for Reproduction
Voania, Male Equestrian Figure, between 1875 and 1910, terracotta. Detroit Institute of Arts, Founders Society Purchase with funds from the Friends of African and African American Art, the Arthur D. Coar Endowment Fund, et al., 1994.47.
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