African Art
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Photo credit: Yale University Art Gallery
PrevNext2 of 2
Photo credit: Yale University Art Gallery

Kneeling Female Figure

possibly 18th century or earlier

Wood with oil

17 11/16 x 3 3/4 x 4 5/16 in. (45 x 9.5 x 11 cm)
Charles B. Benenson, B.A. 1933, Collection
2006.51.220
This figure shows characteristics considered highly desirable in Dogon women: she kneels devoutly, her head modestly bowed and her eyes cast downward. Her youthful breasts and rounded belly allude to her potential for childbearing. Her fingers point toward the fertile earth. Dogon women assume this posture during funerals to show grief and to express gratitude to the deceased for a productive life.
Culture: 
Dogon, Pre-Dogon, or Soninke
Classification: 
Sculpture
Geography: 
Made in Sahel, Mali
Status: 
On view
Provenance: 

Collected in the Bandiagara region. Sotheby's New York, October 23, 1982, lot 262; Charles B. Benenson Collection, Greenwich, Conn, 1982–2004; Yale University Art Gallery, New Haven, Conn.

Bibliography: 

“Sotheby’s New York advertisement,” African Arts 16, no. 2 (1983): 6, ill.

Jean-Louis Sonnery and Gérald Berjonneau, Rediscovered Masterpieces of African Art (Boulonge, France: Olfert Dapper Foundation, 1987), 192.

Bernard de Grunne, “Ancient Sculpture of the Inland Niger Delta and Its Influence on Dogon Art,” African Arts 21, no. 4 (1988): 54.

Susan Vogel and Jerry L. Thompson, Closeup: Lessons in the Art of Seeing African Sculpture from an American Collection and the Horstmann Collection, exh. cat. (New York: The Center for African Art, 1990), 132-133, fig. 60.

Helene Leloup, Statuaire Dogon/Dogon Statuary (Strasbourg, France: Daniele Amez, 1994), fig. 15.

Bruce Museum, Three African Traditional: the Art of the Dogon, Fang and Songye, exh. cat. (Greenwich, CT: Bruce Museum, 1999), 11, fig. 10.

Tom Phillips, Africa: The Art of a Continent (Munich: Prestel Publishing, 2004), 504–505, fig. 6.15.

Richard Barnes, “Objects of Desire,” Yale Alumni Magazine (September/October 2004): 221, ill.

“Acquisitions, July 1, 2005–June 30, 2006,” Yale University Art Gallery Bulletin (2006): 222, 225, ill.

Frederick John Lamp, Accumulating Histories: African Art from the Charles B. Benenson Collection at the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2012), 181, ill.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.