Contemporary art in Nigeria: A selected art historical collage. Part 1

By Professor Ola Oloidi

Professor of Arts History and Criticism University of Nigeria, Nsukka

Until the end of the second decade of this century, there was no appreciable introduction of art into Nigerian primary schools; in fact, what was introduced was craft. Western form of art had its first informal appearance around 1895 through a young student, Aina Onabolu who was born in 1882 in Ijebu-Ode in the present Ogun state of Nigeria. While in elementary school, Onabolu was charmed by the photographic, naturalistic pictures or illustration that were very common in various British "magazines and books which were still very new to our culture in those days".

These illustrations appeared like magic to him. Having been brought up in a culture that had abstraction as its artistic language, he could not believe that any man could create such images that were a facsimile of man himself. It was also the general belief of the Europeans "that there is one barrier he (an African) cannot surmount, one door he is unable to open; that in the sphere of art (Western type) he is not capable of reaching even a moderate degree of proficiency". Onabolu was aware of this Western concept, which he saw not only as a smudge on African culture and creativity but also as a reproach on Africa. He was therefore determined to see to the expungement of this western concept of African creativity. He was convinced that a white man's creativity was in no way superior to that of an African. He made up his mind to draw and paint in the exact manner a white man did and to bring "true" art to Nigeria.

In spite of his civil service job with the marine department in Lagos in 1990, this young artist, all on his own, continued to draw and paint, particularly after work. He imported art materials and books from London. By 1906, he had become very popular in Lagos as "another white wizard" (5.) In fact, this was the year he produced his masterpiece, "Mrs. Spencer Savage". In 1910, it was possible to easily see artworks of exquisite quality comparable to those of his professional and formally trained counterparts in Europe. Between 1910 and 1915, his art had been well known to friends and found in many homes of the elites, schools and government departments. 1915 to 1920 was a landmark period in the history of art education in Nigeria.

This was the period Onabolu contacted several primary schools in Lagos for possible informal part time teaching of art. He begged the school administrators to introduce art into these Schools. Some schools accepted while some who had not been familiar with his potential, as an African, could not consider his request. He however started teaching but without waiting for gratification. This prodded him to a more determined preoccupation with art, devoting more time and energy to art practice and turning out more drawings and paintings of highly professional and aesthetic qualities.

In 1920, the artist was already sure and confident of his artistic capabilities. He had his first art exhibition, the success of which endeared him very greatly to the colonial educators and administrators in Lagos. Shortly after the exhibition Onabolu left for London to have, for the first time a formal training in art at St. John's Wood Art School. This was necessary not really for professional competence but because he wanted to physically compare himself with white students who also had a false concept of African creativity. In addition he needed a certificate that would enable him to officially teach art in Nigeria. The artist returned to Nigeria in 1922 with a diploma and started art formally in Nigeria. Thus Onabolu became the first African to be an art teacher not only in Nigeria but also in West Africa .