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However, many pieces have been attributed by gallerists to George
Lilanga based solely on their 'Lilangalike' appearance. Because pieces sold as 'Lilangas' number in the many hundreds, it stands to reason that George Lilanga could not possibly have crafted them all himself, in particular in view of
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fantastic creatures, depicted in virtually all of
Lilanga's paintings and sculptures. Traditionally, Makonde sculptors choose the finest woods for their pieces and would frown upon painting over the woods' natural textures. The bright enamel multi-colour painting technique pioneered by Lilanga gives
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Shortly after beginning grammar school, Lilanga had his first contact with wooden sculpture, made from roots, softwood and, later, ebony, and working in the
Makonde tradition. He dedicated himself almost exclusively to this technique from 1961 until 1972. He showed his first works to Europeans who
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of
Lilanga's work. In addition, the book explores the traditional roots of East African Makonde art, as well as four decades of Lilanga's artistic development with different materials and techniques, including sculpture, paintings, etchings, drawings and metal works. Currently the HMC publish the
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In 2001, due to his serious physical impairments, he returned to small works with ink on paper and small goatskins 22.5 x 22.5 cm in size, which could be done more quickly and easily. With the assistance of his atelier, however, he also continued to create paintings of considerable size, and
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In the 1990s and with growing international recognition, his paintings became increasingly larger (from this period are his oils on canvas about one square meter in size, his first large canvases over 200 centimetres in length and 61x122-centimeter works on
Masonite/Faesite). During this period,
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plantations, and he had two brothers, who died before him. Lilanga attended primary school for only three years. In the works of his latter years, which were dedicated to village life, he returned many times to representation of his memories of happy moments, when school students received their
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The reality was that George
Lilanga mentored and inspired several artists who worked with him and capitalized on the value of the 'Lilanga' label. After George Lilanga's death, several of those artists and new ones continued to produce under the Lilanga attribution.
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that included numerous young pupils and his own relatives, who were also sculptors and painters. They were closely supervised by
Lilanga, and began to take over part of the work that Lilanga could no longer easily do by himself.
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or the
Hamburg Mawingu Collection (HMC) of German collector Peter-Andreas Kamphausen. Shortly after the death of the artist, the HMC/George Lilanga Collection presented the first systematically and thematically complete
239:, in October 2000 his right leg had to be amputated. In December of that year, the left leg was also amputated. Lilanga thus had to use a wheelchair; but after returning to his home in January 2001, he resumed his work.
224:. "I was always very tired, unable to follow my normal daily routine. Therefore, I decided to go in for a complete checkup in the local hospital. On that occasion, the doctors determined that I had diabetes."
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worked in the refugee camps during
Mozambique's war of independence. Following their advice, in 1970 Lilanga decided to move to Dar es Salaam, where there were greater opportunities for selling sculptures.
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In 1978, he participated in a collective exhibition of
African artists in Washington D.C. Of the 280 works presented, about 100 were by Lilanga. It was on this occasion that he was compared with
208:, an American aid worker promoting Tanzanian art. In 1977, he made his first journey outside Africa, travelling to New York, where he had a show at the Maryknoll Sisters' Ossining Center in
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said in an interview that he had been influenced by Lilanga's art). Lilanga began a long series of exhibitions. His works had increasing success in Africa, Europe, the US, India and Japan.
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his pieces a more contemporary aesthetic appeal and developed into a personal style that has made them popular with collectors and art dealers. As a result, Lilanga became a reference in
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289:, which became an important pictural experience for his later coloured art works. Subsequently, he dedicated himself almost exclusively to painting. His many pictures showing
297:(inexpensive panels made from wood fibre pressed, frequently used in African dwellings for stopping up attic roofs and as insulation), or on canvas, batiks and goat skin.
82:), he transformed typical sculptural forms into two-dimensional art works like paintings, etchings or panels. With this innovation, he developed his own style out of the
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after a break of many years, and at the end of the 1990s, he began working intensely again with sculpture, creating a large number of carvings in soft wood (usually
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As a modern artist in his own right, he joined other artists like Robino Ntila, Augustino Malaba and Patrick Francis Imanjama. He also began to create paintings on
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156:, where there were greater opportunities for selling sculptures and practising contemporary art. In 1971, he found his first employment, thanks to his uncle,
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for this cultural centre. After the Nyumba ya Sanaa was destroyed, these doors were bought and restored by a German collector and are documented in the book
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and enjoyed considerable commercial success in the latter part of his life, and prices for his pieces were further boosted after his death in 2005.
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school, but always maintained his own style. After 1972, he became essentially a painter, and some of his works were presented at Dar es Salaam's
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as an online blog with information about the artist, his art works, exhibitions and other interesting background material. Also in 2005, the
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In 2000, the combination of diabetes, high blood pressure and heart disease led to a rapid deterioration in Lilanga's health. Due to
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In the late 1990s, his diabetes worsened with severe complications. Lilanga was forced to reorganise his work, putting together an
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The exact place and date of Lilanga's birth are uncertain, although he said that he was born in 1934 in the village of Kikwetu,
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144:(an ethnic group living both in Mozambique as well as Tanzania). His father was an agricultural labourer, who worked on the
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504:"AFRICAN ART NOW, MUSEUM OF FINE ARTS, HOUSTON, TEXAS, USA from 01/29/05 to 06/05/05 - Pigozzi Collection 2021"
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Alongside other African contemporary artists, his work was exhibited in international art shows, including
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2012 George Lilanga: Inside...Africa...Outside, Hamburg Art Week/Hamburg Mawingu Collection (HMC), Germany
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of carving sculptures from wood. After having been exposed to other modern artists at the cultural centre
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Like other modern Tanzanian artists, Lilanga frequented the art circles of the increasingly successful
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painter and sculptor, active from the late 1970s and until the early 21st century. He belonged to the
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his frail health during the last decade of his life, when the bulk of such pieces was produced.
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Shiraishi, Kenji and Yamamoto, Fumiko. (1993) Africa Hoy. Lilanga's Cosmos. Tokyo: Kodansha.
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in 2005. Through these exhibitions and the ensuing interest of art critics and collectors of
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1999 George Lilanga "Storie Africane", Franco Cancelliere Arte Contemporanea, Messina, Italy
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2004 Africa Remix, Art contemporain d’un continent, in Paris, London, Düsseldorf and Tokyo
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2003 Lilanga d’ici et d’ailleurs, Centre Culturel François Mitterrand, Périgueux, France
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1995 Lilanga Artist in Residence and Workshop, Hiroshima City Moderne Art Museum, Japan
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George Lilanga's colourful artworks underscore a whimsical evolution from traditional
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George Lilanga's art works can be found in leading international collections like
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Lilanga died on Monday 27 June 2005, in Dar es Salaam, in his house-atelier at
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published a well-illustrated book on Lilanga's work with useful information.
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Hamburg Mawingu Collection / HMC: George Lilanga Collection, Hamburg/Germany
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2003 George Lilanga, Christa’s Fine Tribal Art Gallery, Copenhague, Denmark
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and on metal sheets for the finishing of railings and gates of the centre.
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George Lilanga (right) and fellow painter Patrick Francis Imanjama outside
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until shortly before his death, he produced large canvases, Masonites and
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735:(148 full col. p., 150 col. ill, 7 b/w ill, bilingual (English, German)
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2004 Tingatinga and Lilanga, Kouchi Prefecture Art Museum, Kouchi, Japan
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George Lilanga Rangi ya Maisha / Farben des Lebens / Colours of Life
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Kamphausen, Peter-Andreas / Hamburg Mawinga Collection (2021).
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Kamphausen, Peter-Andreas / Hamburg Mawinga Collection (2005).
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Art in Tanzania 2000: the annual art event : Dar es Salaam
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in different situations were represented two-dimensionally on
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Hamburg. (24 full colour pages, bilingual English / German)
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753:(94 pp. illus., pt. colour, text in Japanese and English)
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George Lilanga data base with almost 400 artworks online
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Spring, Christopher (Summer 1996). "African Metalwork".
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George Lilanga with one of his paintings by the title:
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In the 1980s, Lilanga participated a few times in the
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2010 African Stories, Marrakech Art Fair, Marrakech
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449:2003–2004 Latitudes, Hôtel de Ville, Paris, France
439:2005 African Art Now : Masterpieces from the
361:African Collection series (Skira Editore, Milan)
29:("Banana look at me, I have the mouth-watering")
343:The Contemporary African Art Collection (CAAC)
740:George Lilanga: The Doors of Nyumba ya Sanaa.
542:. East African Movies. 2000. pp. 74–78.
174:George Lilanga: The Doors of Nyumba ya Sanaa.
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309:), vividly coloured with oil-based enamels.
443:Collection, Museum of Fine Art Houston, USA
405:1994–1995 Lilanga's Cosmos, Okariya Gallery
675:"George Lilanga - Pigozzi Collection 2020"
380:2005 George Lilanga, Jamaica, Milan, Italy
16:Tanzanian painter and sculptor (1934–2005)
285:. There he learned the graphic method of
782:Annotated bibliography on George Lilanga
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27:we ndizi anangalia ulimi wangu, unawasha
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420:Pinacoteca Giovanni e Marella Agnelli
200:Lilanga's talents were recognized by
44:people and lived most of his life in
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152:In 1970, Lilanga decided to move to
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679:CAACART - The Pigozzi Collection
573:George Lilanga Farben des Lebens
508:CAACART - The Pigozzi Collection
827:20th-century Tanzanian painters
220:In 1974, he was diagnosed with
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604:Hamburg Mawinga Collection.
140:Lilanga's parents were both
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832:People from Masasi District
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763:Webpage with paintings of
610:georgelilanga.blogspot.com
125:with sculptures by Lilanga
72:Makonde artistic tradition
837:People from Mtwara Region
427:Guggenheim Museum, Bilbao
571:Lilanga, George (2005).
474:Contemporary African art
90:) figures of the modern
61:contemporary African art
780:Smithsonian Libraries:
612:(in German and English)
216:Health issues and death
639:(3). Los Angeles: 78.
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110:of southern Tanzania.
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822:20th-century painters
606:"George Lilanga News"
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432:2005 Arts of Africa,
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117:The main gate of the
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765:George Lilanga's Art
514:on 20 September 2020
490:References and notes
484:Culture of Tanzania
452:2002 Mapico Dance,
357:George Lilanga News
121:cultural centre in
842:Tanzanian amputees
538:"George Lilanga".
425:2006 100% Africa,
418:2007 Why Africa?,
281:Summer Academy in
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92:Makonde sculptures
65:artist of Tanzania
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817:Tanzanian artists
812:African sculptors
582:978-3-8334-3858-5
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461:Shanghai Biennale
367:Major exhibitions
222:diabetes mellitus
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180:batik cloth
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518:10 January
459:2000–2001
191:Tingatinga
149:diplomas.
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202:Maryknoll
197:in 1974.
98:Biography
38:Tanzanian
657:ProQuest
558:84686187
468:See also
396:, Geneva
295:Masonite
279:Salzburg
237:gangrene
184:goatskin
55:2004 or
653:3337348
616:25 July
429:, Spain
323:shetani
291:Shetani
287:etching
283:Austria
252:Mbagala
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204:Sister
142:Makonde
84:Shetani
42:Makonde
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313:Legacy
307:mkongo
303:mninga
245:tondos
104:Masasi
88:devils
649:JSTOR
454:MAMCO
410:Group
394:MAMCO
182:, on
146:sisal
747:ISBN
729:ISBN
707:2020
686:2020
618:2021
587:OCLC
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