Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries.It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered.
Her mind escaped between them, and went exploring for itself through the great gaps they had made in the simple obedient assumptions of her girlhood. That question originally put in Paradise, "Why shouldn't we?" came into her mind and stayed there. It is a question that marks a definite stage in the departure from innocence. Things that had seemed opaque and immutable appeared translucent and questionable. She began to read more and more in order to learn things and get a light upon things, and less and less to pass the time. Ideas came to her that seemed at first strange altogether and then grotesquely justifiable and then crept to a sort of acceptance by familiarity. And a disturbing intermittent sense of a general responsibility increased and increased in her.You will understand this sense of responsibility which was growing up in Lady Harman's mind if you have felt it yourself, but if you have not then you may find it a little difficult to understand. You see it comes, when it comes at all, out of a phase of disillusionment. All children, I suppose, begin by taking for granted the rightness of things in general, the soundness of accepted standards, and many people are at least so happy that they never really grow out of this assumption. They go to the grave with an unbroken confidence that somewhere behind all the immediate injustices and disorders of life, behind the antics of politics, the rigidities of institutions, the pressure of custom and the vagaries of law, there is wisdom and purpose and adequate provision, they never lose that faith in the human household they acquired amongst the directed securities of home. But for more of us and more there comes a dissolution of these assurances; there comes illumination as the day comes into a candle-lit uncurtained room. The warm lights that once rounded off our world so completely are betrayed for what they are, smoky and guttering candles. Beyond what once seemed a casket of dutiful security is now a limitless and indifferent universe. Ours is the wisdom or there is no wisdom; ours is the decision or there is no decision. That burthen is upon each of us in the measure of our capacity. The talent has been given us and we may not bury it.