Summary.
This paper explains the world export of the construct of the earliest and primitive art developed in Europe in the first 20 century and the role that the primitive art played in the emergence of the modern forms of art that the indigenous people produced. The papers argue that there is a need to differencing between sociological primitivism grounded in the evolutionary theory and the aesthetic primitivism that the artists promoted. The ethnologists and the patrons who ended up admiring and appropriating the traditional arts belonged to the non-western people s and were classified as primitive. Consequently, two case studies belong to the refugees of Nazi Europe German ethnologists called Leonhard Adam and another from Austria called George Swinton, demonstrating the existing tension between the understandings of the various primitive art and the growing awareness in line with the emigration of the earliest modernity. The knowledge of the different primitive art led to the promotion of both the Australian Aboriginal and other skills such as the Inuit’s despite the existence of doubts in the links between the oppressive assimilation’s polis and the aesthetic justified through sociological primitivism.
Primitive art is a very contradictory tendency. It has ushered in various forms of art and played a significant role in ensuring that the usual perspective of and the direction of both European and the American painting changed in the 2oth century. However, primitive art was not necessarily a movement. Still, a trend and diverse modern artists in many countries were looking against past things and wanted to distance themselves from the new artistic sources to increase industrialization and urbanization. At the beginning of 20 century, various countries in Africa, native Americans, Oceania gave the artist anew vocabulary, which could explore differently. In other words, primitivism gave the artists a better way to critic the traditions that were very stagnant in the European paintings. Primitive arts used simple drawings ad shapes in their representations, but modern artists like Gauguin and Picasso, and Matisse relied on other better forms in revolutionizing their sculptures and paintings. Primarily, primitivism was attempting to ensure that the tribal arts are recognized in the broader markets. Throughout the 20th and the 21 century, both scholars and artists have tried their best to conceptualize privities and expose the limitations as a framework that could be used to understand art from other aspects of European cultures.
In conclusion, it is understood that primitive art provided new aesthetic forms and provided a deeper meaning that enabled the artists to critique western society and modernization in general. Consequently, the legacy of primitive art and the enduring assumptions regarding the low quality of art ranging from the colonial periods have made it difficult to incorporate both the African, Aboriginal, and Native American artists. The historical narratives have been a lot of responses towards the primitivism of diaspora. Ranging from the artists and scholars who have connections in other African counties. It has become a better form of tribal art and exploration of the fullness of people’s heritage in contemporary society.