This work displays and defines the fruits of thousands of years of black African creative endeavour. All the objects included were made by Africans for their own use, spanning a period from the beginning of the first millennium to the early 20th century, before the commercial production of art aimed at the tourist trade.

Indian Folk and Tribal Paintings introduces you to one of India s most glorious living traditions its tribal and folk painting. Vibrant and full of colour, it is said of tribal and folk painting that it has no beginning and no end. The rich red earth of river deltas, the fine white paste of crushed rice, the juice of fruits and berries, the wine from the mahua tree, the milk and even the dung, continue to provide the artist in the forest and village with his raw materials, while the floors and walls of his dwelling places, the bark of trees, leaves and, latterly, paper, are his surfaces. Whatever the surface or the medium, these paintings are intrinsically linked with the regional historico-cultural settings from which they arise.

The Brooklyn Museum was one of the first North American institutions to collect and exhibit African material culture as art rather than artifact. Today the museum's collection numbers more than six thousand pieces and is noted for its artistic quality and educational value, as well as a breadth and depth that would be impossible to achieve today. Ancient as well as contemporary art is included in the collection's vast holdings, while the figurative sculpture and masks of Central Africa comprise its most significant focus. Nearly two hundred of those pieces are featured in this large-format compendium, which includes essays by the museum's curator of African art and a leading scholar on the subject. Taking readers through a cultural exploration of the continent, the collection encompasses regions from Western Sudan and the Southwestern Congo to the Equatorial Forest and Ethiopia. Carefully photographed and presented in luminous colour, these pieces create a stunning introduction to the rich traditions of African art and culture. AUTHORS: William Siegman served as the Brooklyn Museum's curator of African and Oceanic art from 1987 until his retirement in 2007. He is currently a consulting curator with the Saint Louis Art Museum. Joseph Adande lectures at the National University of Benin, Abomey-Calavi. He was the Andrew W. Mellon Fellow in the Department of the Arts of Africa, Oceania and the Americas at the Metropolitan Museum of Art in New York. Kevin D. Dumouchelle is Interim Assistant Curator of the Arts of Africa and the Pacific Islands at the Brooklyn Museum. ILLUSTRATIONS 235 images

This publication traces the movements of hundreds of thousands of masks, statues, amulets, shields etc. from overseas tribul cultures to and within North Atlantic societies, in colonial and post-colonial times. While the focus is on the Low Countries and their overseas territories, the Belgian Congo and the Netherlands East Indies, related developments in three adjacent colonial powers, Germany, France and the United Kingdom, are also covered, as are links to the United States. The milieus and locales through which tribal objects circulated and circulate are charted, like colonial trading posts, auction houses and museums, and dealers, collectors and curators relate their more recent experiences with objects-in-motion.