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Henri-Georges Clouzot was initiated to tribal art by his uncle Henri Clouzot (1865-1941), celebrated author, critic, as well as African and Oceanic art collector. The latter wrote between 1919 and 1931, in association with Andr Level, many key references, including a precursor essay entitled L'art nègre et océanien, published by Galerie Devambez during Paul Guillaume's exhibition in 1919.
We can compare this superb Dogon figure to another one from a private American collection (Leloup, 1995, fig.92). These two masterworks show the same general appearance, a rib shaped head surmounted by an inverted cone, highly geometrical arms and shoulders, a generous breast, a child in the back framed by the shoulders and the upper part of the bottom, and finally a magnificent oily patina. This esthetic filiation allows us to say that the Clouzot Dogon is from the Bombu-Toro style, located in the central region of the Bandiagara southern cliffs and characterized by the high stylization of human bodies. Leloup dates the published figure of the 17th-18th century.