A-ARTs: Enwonwu's Elizabeth statue, others on display as 'Building A Nation...'

(L-R), Unnamed representative of auction house, Bonhams; Chairman of Coronation Group, Aigboje Aig-Imoukhuede; Minister of Arts, Culture, Tourism and Creative Economy, Hannatu Musawa; and D-G of NCMM, Olugbile Holloway during the opening of 'Building A Nation...'

By Yemi Olakitan

IT was all glitz and pageantry as the National Museum, Onikan, Lagos showcased an incredible exhibition, featuring Ben Enwonwu's 1956 masterpiece bronze sculpture of Queen Elizabeth II. The exhibition, which opened on Tuesday, November 12, 2024 also included other rare works of the late art genius.

During the opening, members of the arts community in Lagos and the media converged at the National Museum, to a background music of classical and Highlife as they bask in the appreciation of Enwonwu's incredible works. According to reports, Enwonwu's most iconic piece of all, the Queen Elizabeth ll statue was commissioned by the monarch during her visit to Nigeria in 1956. The sculpture is considered a testament to Enwonwu's skill and influence on Nigerian and pan-African art. It was the center of attraction at the exhibition.

'Building A Nation: Ben Enwonwu and the Impact of Sculpture' is the title of this permanent exhibition, which was made possible through a partnership between the National Commission for Museums and Monuments (NCMM) and Coronation Group Ltd., with additional support from U.K-based auction house, Bonhams.

The exhibition offers a unique glimpse into Enwonwu's creative process, showcasing not only the Queen Elizabeth II sculpture but also other world-renowned works that highlight his contribution to Nigerian and African art. Enwonwu's biographer, Sylvester Ogbechie, noted that the artist's sculpture of the Queen is an "interesting hybrid" that blends her features with the serene expression of another work, Head of a Yoruba Girl' sculpture."

This masterpiece has quite a history, too. The Queen sat for Enwonwu 12 times, with eight sittings at Buckingham Palace and four at William Reid Dick's studio in Maida Vale, London. The sculpture was later exhibited at the Royal Society of British Artists in London in November 1957.

The exhibition's unveiling was attended by notable figures, including Hannatu Musawa, Minister of Arts, Culture, Tourism and Creative Economy; and Aigboje Aig-Imoukhuede, Chairman of Coronation Group Ltd. They emphasized the importance of preserving Africa's cultural heritage and the role of the private sector in supporting arts and culture.

Mr Aig-Imoukhuede noted that art and culture remained the strongest things Africa had given to the world. He revealed how his understanding and belief in excellence were revealed through art. He said he was as young as four years old when his mother worked as a staff member at the museum, and he had to visit the place after school every day. "I started coming to this museum when my mother worked here as a curator when I was four. I think the most vital things Africa has given the world are arts and culture. I remember listening to debates in this museum about who inspired whom, Picasso or Enwonwu. My understanding and belief in excellence were revealed in art, not in banking, not in finance, not in science, not in technology, but art,” he said.

Mr Aig-Imoukhuede noted that, given art’s enormous importance, the Coronation Group would subsequently be committed to preserving its works in the museum. Given the current dollar exchange rate, he said that Mr Enwonwu’s masterpiece of Queen Elizabeth II was a priceless artwork.

“So, I would encourage you to take a piece of history and take a photograph with this priceless work. Send it out, tweet it. Let people know we are taking Nigerian and African art to a new level. We need to give our children and our children’s children that experience we lived in. So, we shall preserve this museum and maintain and support the work of Gbile and other leaders in the arts and culture sector working for the government.

“We shall do it the way every other nation does it because government is never going to be enough, where people like you and I will step forward as individuals and institutions and do what must be done to preserve our arts and culture.

“I don’t know how long it’s going to take, but I hope we will invite everybody back to see the transformation, your storage areas, and everything that must be done,” he said.

According to Olugbile Holloway, Director-General of NCMM, the exhibition draws parallels between ancient Nigerian art and modern artistic expressions. Mr Holloway said this was done by exploring Enwonwu’s role in shaping cultural and national identity, particularly in the years preceding Nigeria’s independence.

“We are here today to pay homage to the past. Not just our fight for independence but also the spirit of self-determination that was burning across our continent at the time. I am unsure if speaking of a renewed hope agenda is possible without first alluding to renewed heritage.

"The National Commission for Museums and Monuments remains committed to ensuring that our past is not left to decay, and I invite you all to join us on this epic journey,” he said.

Researcher and art historian, Neil Coventry, said throughout history, sculptures have served as powerful vessels for capturing and preserving cultural narratives. “Enwonwu’s work uses the sculptural form to delve into complex themes like African identity and Nigeria’s cultural narrative," he noted. “This exhibition highlights the significance of story-telling through Enwonwu’s sculptures, which breathe life into historical, spiritual and social narratives, connecting Nigeria’s past with its future.

“By presenting Enwonwu’s sculptures alongside the National Museum’s permanent collection, visitors are invited to reflect on the continuum between ancient and modern art. This juxtaposition demonstrates how artists through their mastery of form and symbol have used sculpture across centuries as a means to document, critique and inspire.”

The gates of the iconic National Museum in Lagos are open to art lovers who would like to explore some of Enwonwu’s masterpieces until the end of the week.

Ben Enwonwu was a true pioneer in the art world, considered by many to be the most influential African artist of the 20th century. He was Born in 1917 in Onitsha, Nigeria, Enwonwu's artistic journey began at a young age, influenced by his father, a skilled technician and traditional sculptor. After his father's passing, Enwonwu inherited his tools and continued to hone his craft, eventually studying fine art under Kenneth C. Murray at the Government College in Ibadan and later at the Slade School of Fine Art in London.

Enwonwu's work blended European and African artistic techniques, creating a unique fusion that showcased his cultural heritage. One of his most famous pieces is the bronze sculpture of Queen Elizabeth II, commissioned by the Queen herself during her visit to Nigeria in 1956. This sculpture was unveiled in 1957 at the Royal Society of British Artists exhibition in London and marked a significant moment in Enwonwu's career.

Throughout his life, Enwonwu received numerous awards and honors for his contributions to art, including the Shell Petroleum scholarship, the Nigerian National Merit Award, and the Member of the Most Excellent Order of the British Empire (MBE). His legacy continues to inspire artists and art enthusiasts alike, with his work remaining a testament to the power of cultural expression and identity.

Apart from the Elizabeth statue, other notable works of Enwonwu include Tutu (1973), a portrait of the Ife princess Adetutu Ademiluyi; Anyanwu (1954-55), a representation of the Igbo earth goddess, Ani; and Owo Market(1949), a painting showcasing a marketplace scene in Nigeria.

Ben Enwonwu passed away on February 5, 1994, at the age of 76. Enwonwu's legacy continues to inspire artists, art enthusiasts, and Nigerians alike. His work remains a testament to the power of cultural expression and identity.

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