“Les Fétiches” by Loïs Mailou Jones, created in 1938, is a remarkable masterpiece that encapsulates a profound cultural and artistic narrative. Within this evocative artwork, five overlapping masks originating from diverse African tribes converge to convey a sense of enigmatic spiritualism invoked by ritualistic dance. Jones, who had the opportunity to spend several summers in France, was inspired by the artistic and intellectual liberty that mirrored that of her contemporaries. When met with scrutiny from her Parisian mentors regarding the African motifs in her paintings, Jones fearlessly justified her choice by referencing acclaimed artists such as Matisse and Picasso, who had also drawn from these themes. Her unyielding stance reflected her firm belief in the significance of cultural representation in art.
Following her experiences, Jones devoted many years to teaching at Howard University, where she passionately encouraged her students to embark on journeys to Africa, emphasizing the importance of comprehending its profound artistic heritage. The amalgamation of multiple masks and a striking red fetish figure within “Les Fétiches” poignantly signifies the artist’s endeavor to derive resilience and shelter from her rich cultural legacy in the face of pervasive prejudice. Jones’s deliberate incorporation of these powerful symbols serves as an assertion of her identity and a testament to the enduring influence of African art on her work.
“Les Fétiches” stands as a testament to Jones’s unwavering commitment to celebrating her African heritage and confronting the societal challenges of her time. Through this captivating piece, she not only reflects her own journey of self-discovery and empowerment but also fosters a deeper appreciation for the intricate interplay between art, culture, and identity. As viewers contemplate the intricacies of “Les Fétiches,” they are invited to embark on a transformative journey that transcends the confines of time and space, embracing the universal language of art and humanity.
When her Paris teachers questioned the African themes in her paintings, Jones answered readily: if masters like Matisse and Picasso could use them, she said, “don’t you think I should?” Jones taught at Howard University for many years thereafter, encouraging her students to travel to Africa to understand its art. The multiple masks and vivid red fetish figure suggest the artist’s effort to draw strength and protection from her cultural heritage in the face of prejudice.”
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