Masque Grebo, région de Sassandra, Côte d’Ivoire. Incl stand. The distinctive feature of a slightly curved Grebo board mask from the Sassandra region lies less in its naturalistic representation than in its radical abstraction. These masks are among the most striking creations of West African art and are characterized by a flat, shield- or board-like base, often slightly curved forward. This curvature enhances the mask's presence during dances and lends it an almost supernatural appearance. Characteristic are the tubular eyes that protrude from the face. These should not be interpreted as anatomical details, but rather as symbols of supernatural perception. In the worldview of the Grebo and related Kru groups, these oversized eyes symbolize the depicted spirit's ability to see far more than ordinary people. The slight curvature of the board is a typical feature of many Sassandra masks. Together with the elongated forehead, the narrow nose, and the protruding eyes, it creates a captivating blend of human and non-human elements. This makes the mask appear as an embodiment of a spiritual power rather than a portrait of a person. Such board masks were traditionally used by warrior societies and appeared during war preparations, victory celebrations, and the funerals of important warriors. They could also be seen at initiations or other communal rituals. The monumental, flat design was intended to inspire awe and make the spiritual power of the depicted being visible. From an art historical perspective, these masks hold particular significance because their geometric forms and tubular eyes were among the African works that profoundly influenced European artists such as Pablo Picasso and other representatives of Cubism at the beginning of the 20th century. Catalogue text A Grebo plank mask, Côte d’Ivoire, collected in the Sassandra region. The slightly curved board-shaped face, elongated forehead, projecting tubular eyes and narrow nose exemplify one of the most distinctive sculptural traditions of the Kru-speaking peoples. The deliberate abstraction of the facial features does not seek human likeness but conveys the supernatural vision and spiritual authority of the spirit embodied by the mask. Such masks were associated with warrior societies and appeared during preparations for war, funerary ceremonies and other important communal rites. Their powerful geometric forms later became a major source of inspiration for the pioneers of European Modernism. Fine aged patina, showing traces of ritual use and prolonged handling. References Alain-Michel Boyer, L’Art des Grebo, Genève, 2010.Susan M. Vogel (ed.), For Spirits and Kings, New York, 1981. Frank Herreman (ed.), Masterpieces of African Art, Tervuren, 2007. Musée du quai Branly – Jacques Chirac, Collection Lacharrière, Grebo Anthropomorphic Mask. Second Face Museum of Cultural Masks, Grebo War Mask. This information is created by AI and based on published ethnographic and art-historical sources.