143 region, describing the arrival of explorers, collecting trips, and other aspects of the contact period. In my opinion, the book’s special quality resides in the blend and equilibrium resulting from its contributors’ approaches. T. A. M.: Another fundamental aspect of this book is its visual dimension. It includes illustrations of a remarkable selection of objects with beautiful photographs taken by Hugues Dubois specifically for the project. E. G.: Thanks again go to Kevin for his choices here. He picked a diverse group of objects, including masks, ornaments, and ceremonial objects, again with the highest criteria for quality. They come mainly from two private collections, those of Anne and René Vanderstraete and Loed and Mia van Bussel. A few of his own pieces are included as well. Kevin suggested that Hugues Dubois be the photographer. I introduced them in 2008, and they had worked together on the production of Solomon Islands Art, which appeared in 2008. I have been working with Hugues for many years and it has always been a great pleasure. We share the same high standard of quality and we have similar artistic sensibilities— he has been fond of drawing since he was very young, and I am the son of a sculptor, who spent many hours in his father’s studio. Hugues has really outdone himself with the photographs for this book, and each one is very personal in nature. The vivid memories he has of his visit to the Tolaï people of New Britain in the 1990s certainly has something to do with that fact. I also think that the book’s visual impact has something to do with its imposing size. I admit I was a bit hesitant to opt for this very large format—it seemed impractical to me, and the book is heavy and difficult to find shelf space for in a library. But Kevin’s vision prevailed here and none of us regret the choice. The impressive scale of the illustrations gives the objects an almost three-dimensional quality that enhances and reinforces their visual power. 1. The Art of Southeast Africa, 2002; Bernatzik: South Pacific, 2002: Bernatzik: Africa, 2003; Bernatzik: Southeast Asia, 2003; Solomon Islands Art, 2008. FIG. 3 (left): Malangan figure. New Ireland. Published on p. 270. © Hughes Dubois, 2014. FIG. 4 (top): Overmodeled skull. Tolaï. Published on p. 176. © Hughes Dubois, 2014. FIG. 5 (middle): Dance mask. Vitu Islands. Published on p. 165. © Hughes Dubois, 2014.
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