Created in the 70s, from a cultural cooperation program between Brazil and African countriesand the development of thematic studies on the african-Brazilian, Afro-Brazilian Museum was inaugurated on January 7, 1982, in historic building, the old center of Salvador, built on the sitewhere he ran the Royal College of Jesuits of the sixteenth to the eighteenth century and later, in 1808, the first Medical School in Brazil.The Museum is the result of an agreement between the Ministries of Foreign Affairs and Education and Culture, the State Government of Bahia, the City of Salvador and the Federal University of Bahia, an organ which is found on through the Center for African Studies East (CEAO). The latter was the executor of the program that gave rise to the Museum and is stillresponsible for its maintenance. Its creation corresponded to the wishes of the existence of an area of collection, preservation and dissemination of collections relating to African cultures andafrican-Brazilian, with the aim of strengthening relations with Africa and understand the importance of this continent in promoting Brazilian culture, for Furthermore, contacts with the local community.
The original design of 1974, designed by anthropologist and photographer Pierre Verger, was developed by architect Oswald and Jacyra etnolinguista Yeda Pessoa de Castro, among other teachers and researchers at the Federal University of Bahia and external consultants. Between the years 1997 and 1999 MAFRA went through a process of renovation of its exposure.
In addition to its educational program, the Museum is also continuously required for official visitsof Heads of State and / or their representatives, as well as intellectuals and researchers relatedto African cultures and african-Brazilian. Through its collection, supports publications and alsothe production of television programs and movies.
MAFRO Hours:
Mon-Fri 9 a.m. - 6 p.m.
Weekends and holidays 10 a.m. - 5 p.m.
Weekends and holidays 10 a.m. - 5 p.m.
Address & Contact Information:
Address: Terreiro de Jesus / Former School of Medicine complex
Historic Downtown Salvador (Centro Histórico)
Salvador - BA
Phone: 55-71-3321-2013
Fax: 55-71-3321-2013
www.mafro.ceao.ufba.br
Historic Downtown Salvador (Centro Histórico)
Salvador - BA
Phone: 55-71-3321-2013
Fax: 55-71-3321-2013
www.mafro.ceao.ufba.br
Admission :
Admission valid to MAFRO (ground floor) and the Museum of Archaeology and Ethnology (downstairs)
Adults: R$5
Kids 6-12: R$2,50
Students (with ID card): R$2,50
Adults: R$5
Kids 6-12: R$2,50
Students (with ID card): R$2,50
The Louvre
When you think museums in Paris or (musee' as the french say) The first place that comes to mind is the Louvre home of Mona Lisa and Venus de Milo among many other famous works of art. You need days to really see everything. On my first visit I was exhausted my senses overloaded. I was trying to see every thing not knowing if I would ever be back. Disappointed- I had just fought the crowds to get a glimpse of the Mona Lisa.... the painting was so small and you couldn't even get very close for the people and ropes,plus it was behind bullet proof glass. I wandered away up some stairs totally lost ..turned a corner and there she was my black Mona Lisa. The portrait d'une negresse she seem to be looking straight at me just hanging there on the wall unprotected...I could of reach out and touched her( don't worry they have guards posted every few yards ..so no sane person would dare)
I am having a hard time trying to write why I really liked this painting. I guess with art you just know what you like. The expression on her face ..I really can't make up my mind..Is she bored, sad, happy, mad, content. It seems to change.. maybe with my mood. I went to the Louvre bookstore and bought a print. Across for the bookstore is a post office right in the museum. I bought a mailing tube and had the print shipped home. Nelli as I call her is now framed and hangs in my living room. I did research but except for the fact that some think she might have been a slave from the island of Martinique ..no one really know anything about her life.
I have been back many times.... to have .....as I call it lunch with Nelli . The Louver has a wonderful mall with a food court. I go get something to eat ..visit shop called Fragonard Parfumeur (a French perfume company) I buy a candle and some soap. Then I go visit Nelli .... it has been a while since my last visit. Nelli I hope I will be able to drop by and visit on my way to Timbuktu for my 50th birthday.
If you plan on going to the Louvre here are some tips.
1.Don't try to see everything at once. Get a guide book decide what you really must see. Stop and enjoy each piece of art on your list.
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| Crowds @ Mona Lisa |
2 . Do eat at the food court. Food can be very expensive in Paris , but you will find the food there reasonably priced.
3. Wear a comfortable pair of shoes. Even though you can wear sweats and tennis shoes..why not dress it up a little..try and look chic. After all you are in Paris. Remember you are seeing history and making memory's..don't you want to look good in your pictures. You don't want to look like the frumpy American tourist :-)
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| Venus de Milo |
Hanging on one wall of the Musée du Louvre, in the company of the gargantuan machines by Jacques-Louis David, Eugène Delacroix, Théodore Géricault, and others, is an exquisitely crafted and modestly sized painting of a black woman. She is shown seated, half-draped, with her right breast bared to the viewer. She sports an intricately wrapped and crisply laundered headdress that appears similar in fabric to the garment she gathers closely against her body just below her breasts. She stares out at the viewer with an enigmatic expression. Although there are no background details that indicate precisely where the sitter is placed, certain details of her physical surroundings—namely, the ancien régime chair and luxurious cloth that drapes both it and her—suggest that she is in a well-to-do domestic space.
Portrait d'une négresse was painted in 1800 by Marie-Guilhelmine Benoist (born Marie-Guillemine Leroulx-Delaville) (1768-1826), a woman of aristocratic lineage who belonged to a small elite circle of professional women painters that included, among others, Anne Vallayer-Coster (1744-1818), Elisabeth Vigée-Lebrun (1755-1842), Marguerite Gérard (1771-1837), Angélique Mongez (1775-1855), and Adélaide Labille-Guiard (1749-1803).1 As had been the case with most women artists working at the time, Benoist fit the middle and upper class ideal of "womanhood" in her conforming to the social expectations of women to marry, raise children, and forego a career.
Although we do not know whether or to what extent Benoist partook in the volatile debates on slavery and gender current during the late eighteenth and early nineteenth centuries in France, her painting may be seen as a voice of protest, however small, in the discourse over human bondage.-James Smalls
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