126 FIG. 8 (left): Spouse fi gure, blolo bian. Baule, Côte d’Ivoire. Wood, pigment. H: 45 cm. Musée Dapper, Paris, inv. 0172. FACING PAGE FIG. 9 (left): Altar fi gure. Soninke, Mali. C-14 dated to the 10th century (ETH- 12142 AD 960 and AD 865–1046). Wood, pigment. H: 103 cm. Ex Lester Wunderman. Musée Dapper, Paris, inv. 0068. FIG. 10 (bottom right): Equestrian fi gure. Dogon, Mali. C-14 dated to the 17th or 18th century (ETH-10530 AD 1610 and AD 1770). Wood, pigment. H: 81 cm. Ex Lester Wunderman. Musée Dapper, Paris, inv. 0123. Central Africa (mainly Cameroon and Gabon) and West Africa (Mali, Côte d’Ivoire, Ghana, and Benin). Does that selection refl ect Michel Leveau’s personal taste? C. F.-L.: The formation of a collection destined for public presentation follows a particular logic that does not always mirror personal preferences. The concern for thoroughness and comprehensiveness we just discussed trumps that. Michel Leveau was careful to take advantage of opportunities to acquire important works as they arose. Having said that, his personal sensibilities shine in each of his acquisitions. Divided into two large sections, with Central Africa on the ground level and West Africa on the second fl oor, Chefs-d’oeuvre certainly reveals a relatively classical sensibility. Michel Leveau was particularly struck by the iconic character achieved early on by certain works, such as the Bangwa Queen and the Pahouin Venus. At the same time, he had an evolved interest in then less-well-known works, such as the formal and more stylized Kota and Mahongwe reliquaries or Dogon statuary. One of the pieces he loved the most was a little Soninke fi gure with a raised arm, which he had C-14 tested to determine its age. T. A. M.: When these masterpieces are not being exhibited at the museum, are they displayed in your home? C. F.-L.: No, not at all. I don’t mean to say we don’t have objects at home, but the Bangwa Queen has never presided over our living room! T. A. M.: Some collectors might see that as unfortunate. C. F.-L.: And that is additional proof that Michel Leveau was never really a true collector. He thought such pieces’ rightful place was in the museum, where they can be admired. T. A. M.: To conclude, let me bring up a subject you must have been repeatedly asked about since your late husband’s sad death. What is the future of the museum and its collection? As the museum’s director, exhibition curator, and producer of publications, you have made major and decisive contributions to this venture that are familiar to us all. In the three years since Michel Leveau’s passing, the museum has continued to honor and renew his commitment to the promotion of African art through its rich and varied programming. Is this going to continue for the foreseeable future? C. F.-L.: Michel Leveau’s death was obviously an upheaval for our museum, but it remains my desire and that of my daughters to continue the work we began more than thirty years ago, albeit by evolving to meet new circumstances. TRIBAL people
•TribalPaginaIntera.indd
To see the actual publication please follow the link above