Relevant bibliographies by topics / Nigerian Painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Nigerian Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Nigerian Painting"

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Abodunrin, Johnson Adelani. "Audience Perception of Effective Communication in Nigerian Paintings." Harmonia: Journal of Arts Research and Education 16, no. 2 (January 29, 2017): 103. http://dx.doi.org/10.15294/harmonia.v16i2.7824.

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<p>Artists in Nigeria perceived effective communication differently irrespective of the socio-economic status.Communication effectiveness depends largely on the understanding of the message being passed between a sender and a receiver. Painting has been used over time to express emotion and feeling to the perceiving audience. The study is audience’s perception of communication in Nigeria painting and how it varies with the socio-economic characteristics such as age, education, gender, and being professional artist or art lovers. Questionnaires were distributed and administered to examine how the status of the art audience makes or mars effective communication in painting. The inferential statistics that were employed include “chi-square test” to test the relationship between different variables. The data were taken in ordinal form using Likert’s scale, and transformed into interval data. This was done by attaching statistical weights to the responses in the order of importance which were summed up for the parametric testing. Findings show that gender factor has nothing to do with the understanding of paintings. Also, the level of education obtained by the audience does not have much to do with understanding of contemporary Nigerian painting but a better exposure to the issue concerning the stylistic development of Nigerian painting. Art practitioners must adequately be guided on stylistic trend in painting, art education should be more intensified in educational curriculum in Nigeria. The paper concludes that audience requires a better exposure to the issues concerning the stylistic development of Nigerian painting for effective communication to take place.</p>
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Fajuyigbe, Michael Olusegun. "Contemporary Painting as Reflector of Yoruba Cultural Values." Yoruba Studies Review 7, no. 2 (January 19, 2023): 1–28. http://dx.doi.org/10.32473/ysr.7.2.132806.

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Every art form reflects the values of the cultural background that produces it, and visual culture in its present state is based on art and values from the past. This paper, therefore, examines the re-invention of culture and distinctive cultural ideals in contemporary Nigerian art. Specifically, it pinpoints contemporary Yorùbá paintings as visual markers of the Yorùbá value system. The study traces the origin of painting in Africa, from its earliest forms in African caves, shrines, and palaces, through the colonial and postcolonial eras to the present. Based on their contexts, eight (8) paintings that portray specific values of the Yorùbá and are ingrained with symbolic motifs, patterns and imageries are selected. Formal and contextual methods in art history are employed in the analysis of the data. The selected paintings serve as a visual document of the Yorùbá belief system; while contemporary Yorùbá artists are shown to consistently draw from their culture and design resources to establish a connection between the past and the present. The paper concludes that contemporary Nigerian art, generally, reveals new perspectives and meanings regarding art, culture, and identity in a fast-changing, multi-ethnic society like Nigeria
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Zelt, Natalie. "Picturing an Impossible American: Njideka Akunyili Crosby and Photographic Transfers in Portals (2016)." Open Cultural Studies 2, no. 1 (September 1, 2018): 212–24. http://dx.doi.org/10.1515/culture-2018-0020.

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Abstract This article considers artist Njideka Akunyili Crosby’s use of photographic transfers and popular culture in her 2016 painting “Portals” to craft an artwork specific to her experience across multiple points of social identification in the United States and Nigeria. Through close reading and the study of Crosby’s formal and conceptual strategies, Zelt investigates how varying degrees of recognition work through photographic references. “Portals” contests assimilationist definitions of American identity in favor of a representation which is multiplicitous, operating across geographies. By juxtaposing images from different times, in different directions, Crosby constructs “contact zones” and provokes a mode of looking that reflects a feeling dislocation from the country in which she stands, the United States, and the country with which she also identifies, Nigeria. After a brief introduction to the artist and her relationship to Nigerian national politics, the article explores how distance and recognition work through image references to express a particular form of transnational identity, followed by an examination of uses of popular culture references to engage with blackness and an interdependent “Nigerian-ness” and “American-ness.” It concludes by contextualizing the painting’s display amid waves of amplified nativist purity in the US.
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Abodunrin, Johnson Adelani. "Indigenous forms and materials in Nigerian painting." Journal of Art and Architecture Studies 8, no. 1 (June 15, 2019): 07–12. http://dx.doi.org/10.51148/jaas.2019.2.

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Abodunrin, Johnson Adelani. "Artistic forms and ethnic identity in Nigerian painting." Journal of Art and Architecture Studies 10, no. 1 (June 15, 2021): 01–05. http://dx.doi.org/10.51148/jaas.2021.1.

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ODOH, GEORGE. "Transacting the Modern in the Works of Segun Aiyesan, a Self-Taught Nigerian Artist." Sprin Journal of Arts, Humanities and Social Sciences 2, no. 03 (March 25, 2023): 12–28. http://dx.doi.org/10.55559/sjahss.v2i03.92.

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Despite the embodied presence of self-taught art in Nigeria’s contemporary art space, the contributions made by self-taught artists in advancing the modernist landscape of contemporary art in Nigeria have remained largely understudied. Employing historiography and stylistic analyses, this article examines the modernist affirmations in the art of Segun Aiyesan, a self-taught Nigerian artist. It traces his artistic development as well as the various factors that influenced and shaped the modernist sensibilities evident in his art. Situating the discourse within the idiosyncrasies of Nigerian and Western art traditions, the study highlights how Aiyesan’s eclectic and experimental approach to art, in conjunction with the his effectual application of artistic talent and imagination, enabled him transact his own brand of modernism, and how its stylistic and aesthetic registers offer a deeper understanding ot the multifarious landscape of modern Nigerian art. Key attributes that frame Aiyesan’s art practice include the use of unconventional painting formats, multiple engagements of a particular subject matter using diverse compositional frameworks, and the continuous re-appraisal and re-invention of formal language. Thus, his art is very dynamic, expressive and constantly evolving.
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Awuzie, Solomon. "Grief, resurrection, and the Nigerian Civil War in Isidore Diala’s The Lure of Ash." Tydskrif vir Letterkunde 58, no. 2 (June 21, 2021): 1–7. http://dx.doi.org/10.17159/tl.v58i2.6793.

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As part of the third generation of Nigerian poetry, Isidore Diala’s The Lure of Ash focuses on the Nigerian Civil War experience of 1967–1970, the grief associated with it, and the resurrection of the Biafran agitation. Being a collection that is derived from the rural world of the Igbo cosmology, Diala’s The Lure of Ash portrays the Nigerian Civil War in a sensuous and emotive tone. It accounts for the poet’s belief in the regeneration of the lives of the dead Biafran soldiers. The symbols of fire and ash are significant for interpreting the poet-speaker’s grief in the collection. The collection also succeeds in painting a picture of the Nigerian Civil War experience where the bitter memory of the war resonates, while representing poetry as the healer of the pain and wounds of the war.
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Oji, Ruth Karachi Benson. "Painting the state in the text." Pragmatics and Society 12, no. 4 (October 29, 2021): 649–68. http://dx.doi.org/10.1075/ps.20007.oji.

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Abstract Literary works across cultures are never written in a vacuum. They depict the reality of the society where they are set. With the societal obligation of the writers to serve as righters, especially in Africa, this study attempts a pragmatic inquiry of the state of the Nigerian society as implicitly and artistically painted in Remi Raji’s poetry collection, A Harvest of Laughters. The known literature on Remi Raji’s A Harvest of Laughters have analysed the collection mainly from literary and ideological perspectives. Attention has not been given to the collection from a pragmatic perspective, hence the intervention of this study. Drawing insights from Jacob Mey’s Pragmatic Acts Theory, the study analyses the pragmatic imports in the collection with fourteen (14) randomly selected excerpts across different segments of the collection constituting the data. Data was purposively selected from different poems in the collection. The findings show that the two major discursive issues in the text are the depiction of the government as cruel and the portrayal of the citizenry as victims. The former was conveyed through the practs of oppressing, embezzling and deceiving, while the latter was revealed through the practs of suffering and hoping. The study concludes that pragmatics is a valuable tool in the demystification of texts.
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Kasali, A. A., K. O. Jimoh, M. A. Adeagbo, and S. A. Bello. "Web-based text editing system for Nigerian major languages." Nigerian Journal of Technology 40, no. 2 (October 18, 2021): 292–301. http://dx.doi.org/10.4314/njt.v40i2.15.

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This study developed a web-based text editor to eliminate the incompatibility of computer keyboard with the three major indigenous languages in Nigeria. It also aims to reduce the time taken to produce characters with diacritical marks. The editors produced valid Unicode characters and require pressing less buttons to generating all the symbols of the alphabets for the three major indigenous languages in Nigeria. Client-side technologies were used to develop these applications. Three web pages, designated for Yorùbá, Igbo and Hausa language were generated with HTML. CSS was used to define the look and feel of the HTML elements on each page. Regular Expressions implemented in JavaScript functions were used to convert selected ASCII characters into desired Unicode characters. The editors are available at http://www.gazaliwakil.com.ng. The editors work well on latest version of browsers like (Google Chrome, Mozilla Firefox, Opera, and Internet Explorer). They are very light, consume minimal server resources and can work offline. The system was launched Fifty-one (51) times to extract data comprising the Loading, Scripting, Rendering, Painting, System, and Idle time. The obtained result showed that on the average, it takes about 13.77ms to load the HTML DOM elements, 42.83ms to load the javaScript, 13.10ms and 1.73ms for rendering and painting the page by CSS. Additional time taken are 43.91ms and 3,045.10ms for the system and idle time respectively. A total time of 3,160.43ms (3.16s) is required when any of the editors is launched before the page can accept inputs from the users. It also takes the editors 2.66ms to add diacritical marks on a letter. This would, in effect, not reduce the typing speed of users.
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Okpalanozie, Ogechukwu E., Sunday A. Adebusoye, Federica Troiano, Andrea Polo, Francesca Cappitelli, and Matthew O. Ilori. "Evaluating the microbiological risk to a contemporary Nigerian painting: Molecular and biodegradative studies." International Biodeterioration & Biodegradation 114 (October 2016): 184–92. http://dx.doi.org/10.1016/j.ibiod.2016.06.017.

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Dissertations / Theses on the topic "Nigerian Painting"

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Makun, Adetoun Jones. "International passports : portrait of the Nigerian diaspora." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002226.

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International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.
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Oguibe, Oluchukwu Olu. "The paintings and prints of Uzo Egonu, 20th century Nigerian artist." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29692/.

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This work is as much about ways of looking at 20th century African art as it is a study of one artist and his work. The central thesis is that 20th century African art cannot be fully comprehended using deterministic frames and rigid categories. It begins by tracing the emergence of new art forms in Africa - Nigeria in particular - especially from the turn of the 19th century, a process underlined not by a capitulation to the cultural domination of colonialism but by a nationalist determination to undermine its ideological bases by disproving the artistic superiority of the white man. It then looks briefly at the life of Uzo Egonu, the Nigerian painter and printmaker whose work is the focus of the study. To set out a theoretical frame for studying the artist's art, the dissertation posits that a successful appreciation of 20th century African art is possible not by constructing and imposing grand narratives from outside, but by observing closely, systems of reading and appreciation within African societies. It then advances an alternative theory which ciraws from the Masquerade, a central topos in most African cultures as well as a complex interpretative system. Like the Masquerade, posits this theory, 20th century African art is mutative, fundamentally eclectic, and essentially transgressive, and any tool which ignores this is ineffectual. Also, because the work of art, like the Masquerade, operates on several different levels and defies the linear perspective, no interpretation is absolute. Because art is a masquerading act, reading must remain speculative and open. The work offers an appreciation of aspects of Egonu's oeuvre, tracing his development of a personal language, his strong sense of community, and the diversity of his production and concerns, demonstrating through these the poverty of current approaches to the study of 20th century African art.
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Kafaru, Abiodun Babatunde. "An exploration of painting aesthetics, signs, symbols, motifs and patterns of coastal Yoruba land of Nigeria." Thesis, University of Northampton, 2014. http://nectar.northampton.ac.uk/8864/.

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Willis, Elizabeth Anne. "Uli painting and identity : twentieth century development in art in the Igbo - speaking region of Nigeria." Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264967.

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Smith, Sandra A. "Uli metamorphosis of a tradition into contemporary aesthetics /." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1267478083.

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Thesis (M.A.)--Kent State University, 2010.
Title from PDF t.p. (viewed Apr. 28, 2010). Advisor: Fred Smith. Keywords: Uli; Igbo; Nigeria; body painting; wall painting; Nsukka; traditional women painters. Includes bibliographical references (p.101-105).
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Nour, A. I. "Developing African art : innovation and tradition seen through the work of two artists; Lamidi Fakeye and Ahmed Shibrain." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2620.

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The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages.
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Books on the topic "Nigerian Painting"

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Tejuoso, Olarenwaju. 'Mind': An exhibition of paintings by Olarenwaju Tejuoso :19th-23rd Sept, 2006. Enugu: Alliance Française Enugu, 2006.

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Kwubiri, Chidi. Footprints: A solo exhibition of paintings. [Lagos, Nigeria]: Nike Art Gallery, 2021.

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Fasuji, Timothy Adebanjo. Timothy Adebanjo Fasuji: A renowned artist & accomplished educationist. Nigeria: National Gallery of Art, 2018.

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Lessor, Mavua. Mavua Lessor: Vitality in diversity. [Lagos, Nigeria?]: [publisher not identified], 2012.

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Lessor, Mavua. Mavua Lessor: Amidst the mire : a collection of works 2012-2014. [Lagos, Nigeria?]: [publisher not identified], 2014.

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O, Ikpakronyi Simon, Jari Jacob, and National Gallery of Art (Nigeria), eds. Gani Odutokun, 1946-1995: A legend of Nigerian art. [Nigeria]: National Gallery of Art, Nigeria, 2007.

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Adenaike, Tayo. As time passes: Exhibition catalogue. New York, NY: Skoto Gallery, 2004.

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Musa, Joe. Joe Musa: Recent works, February 2-29, 2008. [S.l.]: Joe Musa Gallery, 2008.

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(Enugu, Nigeria) Alliance Française. Life in my city 2013: Art festival : theme: out of the box : painting, sculpture, photography, ceramics, textile, graphics, multimedia, installation : Enugu zone. 7th ed. [Enugu, Nigeria?]: [Alliance Française?], 2013.

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Frances Young Tang Teaching Museum and Art Gallery and Contemporary Arts Center (Cincinnati, Ohio), eds. Njideka Akunyili Crosby: Predecessors : the Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Contemporary Arts Center, Cincinnati. Saratoga Springs, NY: Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, 2019.

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Book chapters on the topic "Nigerian Painting"

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Büschel, Hubertus. "On the Importance of Suffering." In Psychiatric Contours, 311–23. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059325-012.

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Hubertus Büschel, “On the Importance of Suffering”: The coda highlights some central aspects of the entire book and addresses some open questions for future research, such as suffering and vernacular experiences of psychiatry and psychiatric illness. It debates the difficulties of researching patients’ perspectives. It turns to patient art as a source that may be used to better understand patient perspectives. Patient art can be an important source for analyzing “silenced” as well as “marginalized” perspectives or yearnings. It is comparable in some way to voices, but it is a visual source, and one collected under a particular circumstance of curiosity aligned with care. The chapter discusses several examples of patient paintings and drawings from Lantoro Mental Asylum in Abeokuta, Nigeria, collected by Ulli Beier and kept in the Ulli Beier collection in Iwalewa House, Bayreuth, Germany. More largely, it discusses the theme of suffering and whether the theme has been neglected by this volume’s authors.
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Conference papers on the topic "Nigerian Painting"

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Aremu, P. S. O., N. Umoru-Oke, E. Tolulope Ijisakin, and B. Banjo. "Re-defining wall painting of the Yoruba of south-west Nigeria for cultural tourism." In SUSTAINABLE TOURISM 2012. Southampton, UK: WIT Press, 2012. http://dx.doi.org/10.2495/st120281.

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Anifowose, Titilayo. "Significance of cultural heritage assets in the definition of urban morphology. A case of Egba-Ake in South-West Nigeria." In Post-Oil City Planning for Urban Green Deals Virtual Congress. ISOCARP, 2020. http://dx.doi.org/10.47472/fxzs7229.

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This study defined morphological importance of cultural heritage assets and formation of Egba-Ake town. Cultural heritages include man’s physical imaginative products which can be touched and seen include buildings, crafts, tools, ivory, cowries, paintings, textiles, pestles, mortars, food, wooden objects, tombs & grave goods, temples, dresses, pottery & potsherd pavements, monuments, books and artifacts. Morphology are factors that influence city/community formation which are determined by synthetic and natural determinants. Cultural heritage assets are whatever is valued by people today that was also cherished by former generations. This research explored the importance of cultural heritage assets in relation to urban fabrics formation of Egba-Ake. Qualitative method was adopted in this study, in-depth interviews and personal observation was used for data collection while Nvivo words tree and satellite imagery was used to analyze collected data. Ake’s palace and Itoku market is located at the center around which the Egba-Ake evolved. Ake’s Palace (political and cultural hub of the town) and Itoku market (the economic heritage of the town) was used to preserve various aspects of Egba-Ake cultural heritage. Ela festival (new yam festival) is annually celebrated cultural activity in Egba-Ake. This finding is relevant to policy makers as it allows the support of potential common structures for heritage administration in Egba-Ake. Effect of heritage in EgbaAke morphology is the new palace of Alake (the cultural ruler) of Egba-Ake were renovated and new once built a few years ago with modern architectural designs, furniture and fittings. This has made the Alake’s Palace to meet ‘international standards’. Social amenities and infrastructures like electricity supply, water systems, hospitals, good roads, administrative offices, schools; communication networks, etc. are now a major feature in Egba-Ake town. Further studies will enhance the implementation issues which may arise from the creation of a framework for cultural heritage management, with emphasis on risk management and risk reduction of cultural heritage.
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