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Citations

Simbao, Ruth Kerkham. "Lechwe Trust Collection." African Arts 38.3 (2005): 78-80. Academic Search Complete. Web. 9 Feb. 2017.

Monda, Tony, Dr. "How African Sculpture Influences Modern Art." The Herald (Harare) 8 Jan. 2012, Column sec.: n. pag. LexisNexis Academic [LexisNexis]. Web. 7 Feb. 2017.

Added References

Source 1--

There is already a source for this part of the article but it does not fit well here nor does it support it as well. This source already there is better suited under the architecture section of the article.

From Source- The works of Picasso, Vlaminck, Matisse, etc, reflected the influence of African aesthetics. Matisse is said to have encountered African sculptures at the Trocadéro Museum in France, before embarking on a trip to North Africa in 1906, which helped to influence his latter works.

Picasso's most significant early sculptural work, including a monumental bust, has been linked to Grebo and Nimba masks in his collection of African sculpture. The "Fang" sculpture exemplified the integration of form with function, which has created a centuries-old tradition of abstraction in African Art pre-colonial period.

In WP-At the start of the twentieth century, artists like Picasso, Matisse, Vincent van Gogh, Paul Gauguin and Modigliani became aware of, and inspired by, African art. In a situation where the established avant garde was straining against the constraints imposed by serving the world of appearances, African art demonstrated the power of supremely well organised forms; produced not only by responding to the faculty of sight, but also and often primarily, the faculty of imagination, emotion and mystical and religious experience. These artists saw in African Art a formal perfection and sophistication unified with phenomenal expressive power. The study of and response to African Art, by artists at the beginning of the twentieth century facilitated an explosion of interest in the abstraction, organisation and reorganisation of forms, and the exploration of emotional and psychological areas hitherto unseen in Western art.

Source 2

From Source-While the economically influential international community in Zambia, made up largely of diplomats and NGO workers, provides a profitable market for local Zambian artists, the transitory status of these buyers inevitably results in Zambian art being shipped to the homes of foreign amateurs. It is for this reason that Lechwe Trust, founded in 1986 and currently chaired by Zambian artist Cynthia Zukas, aims to purchase quality contemporary Zambian art sti that it remains in the cotmtry and can be viewed by local audiences. The Trust also finances the education of outstanding artists and cultural practitioners. (William Bwalya Miko, curator of this exhibition, was one such recipient.) While Lechwe aims to protect Zambian art for Zambians, this exhibition demonstrates that the organization moves beyond an essentialist notion of Zambian art by including artists with diverse cultural backgrounds. The Lechwe Collection, which due to the lack of a permanent gallery was last exhibited in 2000, is extremely significant in its comprehensive representation of Zambian art and in its commitment to Zambian viewers.

From Article-The Lechwe Trust was founded by Cynthia Zukas. An artist herself, in the early 1980s Zukas was a friend to many artists in Zambia including William Bwalya Miko, who remembers with fondness how Zukas would return from trips abroad with cases full of art materials to pass on to local artists who had no access to such tools. In 1986, she came into an inheritance and decided it was time to support artists more substantially, and the Lechwe Trust was born. Their aim was to provide bursaries for artists who wished to study formally or attend art workshops and residencies. In addition, they decided to start a collection, ensuring an art legacy for Zambia. The collection houses works predominantly by Zambians, however there are works by those who have lived in Zambia or have a connection with the country. Now numbering over 200 pieces of art from paintings to sculpture, from etchings to sketches the legacy is one of which Zambians should be proud, and yet few know of its existence. Or at least that was the case until the recent exhibition. A lack of promotion of the art scene in Zambia is only one issue artists have to address.

Lead

George M. Hendee (October 2, 1866 – 1943) was a skilled bicycle racer. He was also the co-founder of the world’s largest motorcycle company, Indian Motocycle Manufacturing Company. Hendee first became involved with the bicycle industry after his bicycle-racing career. Not only did Hendee build bicycles, but he also sponsored numerous bicycle events and racers. Once he retired from racing and the manufacturing company, Hendee bred cattle and chickens on his farm. At the age of 76, George M. Hendee died after achieving much success in life.