1 F.S. Kleiner "A Global History". Gardner's Art through the Ages. Jan. 2019.

2 F.S. Kleiner "A Global History". Gardner's Art through the Ages. Jan. 2019.

3 Harold Rosenberg, “Harold Rosenberg (1906-1978) from The Arnerican Action Painters,” essay, in The End of the American Avant Garde, ed. Stuart D Hobbs (NYU Press, 1997), 590.

4 F.S. Kleiner "A Global History". Gardner's Art through the Ages. Jan. 2019.

5 F.S. Kleiner "A Global History". Gardner's Art through the Ages. Jan. 2019.

6 F.S. Kleiner "A Global History". Gardner's Art through the Ages. Jan. 2019.

7 F.S. Kleiner "A Global History". Gardner's Art through the Ages. Jan. 2019.

8 F.S. Kleiner "A Global History". Gardner's Art through the Ages. Jan. 2019.

9 F.S. Kleiner "A Global History". Gardner's Art through the Ages. Jan. 2019.

Modern Abstraction and African Tradition: Comparing Formal Treatment and Iconography

Elsie Pierron

May 2023

The artworks of Julio González's Woman Combing Her Hair and the throne and footstool of King Nsangu from Bamum Cameroon offer a striking contrast in their formal treatment and iconography. While González's sculpture emphasizes the abstract and modernist aesthetic of the early 20th century, King Nsangu's throne represents traditional African iconography that incorporates spiritual, cultural, and social elements. More specifically, the formal treatment of Woman Combing Her Hair is characterized by its linear design and use of geometric shapes such as squares and triangles, which are emblematic of Cubism and Futurism.1 Meanwhile, the throne and footstool of King Nsangu are marked by a distinctive use of animal motifs such as lizards, crocodiles, and birds, which reflect traditional African beliefs about spirituality and power.2 Furthermore, the iconography of Woman Combing Her Hair emphasizes individualism and urban life by depicting a modern woman engaging in an everyday activity. On the other hand, King Nsangu's throne and footstool exude communal identity as they represent the African king's position of power and his connection to the spiritual world. In this comparison, it is evident that both artworks represent unique forms of artistic expression that reflect the cultural and social contexts in which they were produced. The formal treatment and iconography of these artworks can be understood in relation to their respective histories.

The stylistic choices for formal treatment and iconography of Julio González's Woman Combing Her Hair and the throne and footstool of King Nsangu from the Bamum people of Cameroon showcase distinct stylistic choices and cultural influences. As stated in The End of the American Avant Garde “With traditional aesthetic references discarded as irrelevant, what gives the canvas it’s meaning is not psychological data but role, the way the artist organizes his emotional and intellectual energy as if he were in a living situation.”3 This is true for this sculture and it seems as though it has a mind of it’s own. González's sculpture, exemplifies the modernist approach with its abstract and geometric forms. The artist's emphasis on the human figure is evident in the elongated and simplified shapes, capturing the essence of the woman's movement and gesture.4 In contrast, the Bamum throne and footstool, dating back to a historical period, reveal an intricate and highly ornamental aesthetic rooted in African traditions. The use of carved wood, elaborate patterns, and symbolic motifs symbolize the king's authority and the cultural significance of the Bamum kingdom. While González's work reflects a Western modernist sensibility, the Bamum masterpiece celebrates the rich cultural heritage and regal power of African royalty.5 Despite their contrasting styles and contexts, both artworks convey a profound appreciation for the human form and the expression of identity within their respective cultural frameworks.

Whereas the symbolism or function of these two pieces serve differently and carry distinct symbolic meanings. In González's sculpture, the act of a woman combing her hair becomes a metaphorical representation of femininity and introspection. The formal treatment, with its simplified and elongated forms, captures a sense of movement and fluidity, emphasizing the contemplative nature of the subject.6 On the other hand, the throne and footstool of King Nsangu serve as powerful symbols of royal authority and prestige within the Bamum kingdom. The intricate carvings, elaborate patterns, and symbolic motifs on the throne communicate the king's position as a central figure and the embodiment of the Bamum people's collective identity. These artistic elements elevate the monarch's status and convey the cultural and historical significance of the throne as a seat of power. While Qe González's sculpture explores personal and introspective themes, the Bamum throne and footstool symbolize communal identity and royal authority, reflecting the diverse functions and symbolic meanings inherent in their respective formal treatments and iconography.7

When it comes to cultural context surrounding the formal treatment and iconography of Julio González's Woman Combing Her Hair and the throne and footstool of King Nsangu from the Bamum people of Cameroon diverge in terms of historical, geographical, and societal influences. González's sculpture, created during the early 20th century in a Western context, reflects the modernist movement's departure from traditional representation. The formal treatment, characterized by abstract and geometric forms, demonstrates the influence of European avant-garde art and the artist's exploration of new artistic expressions.8 In contrast, the throne and footstool of King Nsangu represent the rich cultural heritage and royal traditions of the Bamum people in Cameroon. Rooted in African aesthetics and symbolism, the intricate carvings, patterns, and motifs on the throne reflect the local artistic traditions and the importance of kingship within the Bamum kingdom. The cultural context surrounding these artworks highlights the diverse artistic and cultural expressions emerging from different parts of the world, with González's work representing Western modernism and the Bamum throne exemplifying the artistic heritage of African kingdoms.9

In conclusion, the formal treatment and iconography in Julio González's Woman Combing Her Hair and King Nsangu's throne and footstool exemplify how art can reflect different cultural values and beliefs. The abstract nature of Woman Combing Her Hair emphasizes individualistic ideals reflective of modern Western culture. On the other hand, the animal motif present in King Nsangu's artwork signifies traditional African beliefs about spirituality, power, and communal identity that are strongly rooted in spiritual customs.10 These two works offer a glimpse into their respective cultures; ultimately shedding light on broader social factors that contribute to varying artistic expressions across time and 10 F.S. Kleiner "A Global History". Gardner's Art through the Ages. Jan. 2019. Pierron 5 Julio González, Woman Combing Her Hair, 1936. Iron, 49 40 high. Museum of Modern Art, New York (Mrs. Simon Guggenheim Fund). Throne and footstool of King Nsangu, Bamum, Cameroon, ca. 1870. Wood, textile, glass beads, and cowrie shells, 59 90 high. Museum für Völkerkunde, Staatliche Museen zu Berlin, Berlin.