GERMAINE VAN PARYS
145
FIG. 8 (below): Germaine Van Parys
(1893–1983), Installation view of
L’art nègre at the Palais des Beaux-
Arts in Brussels, November 1930.
© Germaine Van Parys - GermaineImage.
Catalog no. 454, the double bowl bearer from
the Van den Bogaerde Collection is one of the
rare pieces to be accompanied by a mention
of the context in which it was created: “cup
executed on the occasion of the birth of the
twins of a chief.”
FIG. 9 (next spread, top
left): Germaine Van Parys
(1893–1983), Installation
view of L’art Nègre at the
Palais des Beaux-Arts in
Brussels, November 1930.
© Germaine Van Parys –
GermaineImage.
This famous statue of the god Gu, then
in Charles Ratton’s collection, would
later be photographed by Walker
Evans at the African Negro Art show at
MoMA in New York in 1935.
FIG. 10 (next spread, bottom
left): Germaine Van Parys
(1893–1983), Installation
view of L’art Nègre at the
Palais des Beaux-Arts in
Brussels, November 1930.
© Germaine Van Parys –
GermaineImage.
From left to right: Fang reliquary
head from the Maurice de Vlaminck
Collection, Fang reliquary guardian
figure from the André Derain Collection,
and Fang reliquary head from
the Paul Guillaume Collection. The
latter two are now in the collection of
the Metropolitan Museum of Art in
New York.
FIG. 11 (next spread, top
right): Germaine Van Parys
(1893–1983), Installation
view of L’art Nègre at the
Palais des Beaux-Arts in
Brussels, November 1930.
© Germaine Van Parys –
GermaineImage.
Congo objects, most now in the
collection of the Musée Royal de
l’Afrique Centrale in Tervuren.
FIG. 12 (next spread, bottom
right): Germaine Van Parys
(1893–1983), Installation
view of L’art Nègre at the
Palais des Beaux-Arts in
Brussels, November 1930.
© Germaine Van Parys –
GermaineImage.
The Brussels decorator C. Dangotte
lent more than thirty Tutsi basketry
panels from Rwanda to the exhibition.
The labels that are attached to each
are visible reminders of the commercial
aspect of this event.