Breton certainly understood that, in Hyppolite’s oeuvre certain elements, not normally found together, coalesced to construct illogical and startling connections. The French poet André Breton first discovered the art of Hector Hyppolite in 1945 and suggested he could greatly contribute to the French surrealist movement. Through them, he fashioned the perfect balance between his aesthetic interests, and references to nature, and also his faith. Hector Hyppolite created a very personal iconography of the Voodoo pantheon by conflating these Catholic images. (These specific and emblematic ground drawings made inside the peristyle executed during ceremonies by the celebrant and thereafter destroyed, leaving no trace whatsoever that could induce repression against such outlawed practices.) The representation of the lwas was then no longer limited to their vèvès or individual symbols. Their superimposition of the lwas or Voodoo deities onto images of the Catholic saints introduced a new visual imagery into Haitian religious art. In doing so, they created common rituals and iconographic references. To ease the pressure imposed on them, most Voodoo devotees adhered to the Catholic faith. Thus, the perception presented by the artist should not be interpreted as naïve imagery representing the world, but as an organization of signs based on technique, and ideas within a particular society at a specific crossroads.Ĭolonial powers and, later government and Catholic institutions were determined to eradicate Voodoo. However, after studying his production during a brief professional career, it is evident that his paintings are endowed with symbolic meaning which, empower a people to express its collective imagination, and construct a vision of the world. This exhibition also traveled to Milwaukee, Milwaukee Art Center, 22 December 1978-4 February 1979 New Orleans, New Orleans Museum of Art, 15 September-11 November 1979.Ĭritics believed Hector Hyppolite’s art was purely decorative and relegated it to a design aesthetic solely based on his joyous decorative work on the doors for a bar in the northwestern town of Montrouis. New York, Brooklyn Museum, Haitian Art, 2 September- 5 November 1978, p. New York, American Federation of Arts, Haitian Painting: The Native Tradition, November 1973- November 1975, no. Port-au-Prince, Haiti, Le Musee D’Art Haitien, November 1975, no. This exhibition traveled to Cambridge, Arts Council Gallery, 2-23 November 1968, Billingham, Art Gallery, 30 November -28 December 1968, Sheffield, Mappin Art Gallery, 4-26 January 1969, Manchester, Manchester Museum, 1-22 February 1969 Folkestone, Arts Centre, 8-22 March 1969 Cardiff, Welsh Arts Council Gallery, 26 April- Doncaster, Museum and Art Gallery, 19 July-10 August 1969 London, Hayward Gallery, 18 September-23 October 1969.ĭortmund, Germany, Museum am Ostwall, Art from Haiti from the Collection of Kurt Bachmann, 30 November 1969- 11 January 1970. London, Art Council, Popular Paintings from Haiti from the Collection of Kurt Bachmann, 1968-69, p. This design is available on prints through Society 6 and greeting cards through Zazzle.Baden-Baden, Staatliche Kunsthalle, Das Naive Bild der Welt, 1961. Offerings to Aida-Wedo include white foods such as milk, rice, and eggs.Īlternate names: Ayida Wedo, Dan Ayido Hwedo Her message is one of healing and strength for the whole of the world. Integrity, whether physical (structural), or moral, is the natural result of integration-weaving together elements that are very different. She represents continuity and strength, integration and wholeness, as the rainbow contains all the colors, split from white light. In the Vodou tradition, Aida-Wedo (and Her husband Damballah) belong to the Rada Lwa, or spirits who come out of the rites of the old kingdom of Dahomey (present Nigeria, Benin and Togo), generally considered to be benevolent and sweet (dous). The rainbow serpent is the symbol of integration in many parts of the world, including Africa, Australia and America, and represents that which links heaven and earth, and encircles the world to unite her disparate elements. Aida-Wedo is the Lwa (spirit or Goddess) of water, snakes and the rainbow, represented by the rainbow python, a snake whose scales are iridescent.
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