Menu
Menu
Dumile Feni
The death in exile of one of Africa's greatest contemporary artists was a blow to South African art. Dumile Feni, born 21 May 1942 left South Africa to go into exile in 1968, after the powerful statements made in his work resulted in harassment by the apartheid security forces. Feni contributed hugely not only to the African 20th century art world but also to the struggle against apartheid. His works show anguished figures, often contorted as if in immense pain. The figures are clearly African because according to the artist:
"My subjects are Africans because they are my people, but my message, the idea I am bringing to put across has nothing to do with racialism".
Dumile Feni moved from the Cape to Welcome as a child, and then to Queenstown where he began his artistic career. Having been encouraged to draw by his family, Feni's artistic ability blossomed. His practice was further nurtured in 1963 when he was a patient at the Charles Hurwitz SANTA Tuberculosis Hospital in Johannesburg. He was encouraged to draw by the artist Ephraim Ngatane with whom he subsequently painted murals in the hospital. Several persons can claim to have helped Feni to accomplish his career as an artist. Ephraim Ngatane gave him instructions and took him to the Jubilee Art Centre. There he met Cecil Skotnes who developed his drawing techniques. He also worked with Madame Haenggi of Gallery 101 in Johannesburg. Feni worked and spent a lot of time with Bill Ainslie, a friendship spanning over twenty years. It was only a few years later that Feni's work and opposition to apartheid took him to countries as diverse as Nigeria, England, China and the U.S.A.
In 1979, he decided to go to the United States. He journeyed first to Los Angeles and then New York, where he spent the last decade of his life. Although Feni did exhibit in New York, his income derived mainly from designing record covers, posters, calendars and illustrations in books.
Described while in Johannesburg as the Goya of the townships, Feni found his subject matter in the life and events he observed around him. Working primarily with graphic art in monochromatic hues, the artist had the ability and vision to transform the particular into the universal. His works also reflect his deep love of music, especially jazz. And even the disposition of the figures on the page is invested with musical rhythm.
He was also an exceptionally gifted sculptor, skill that is clearly expressed in his art. Though executed entirely in a linear fashion, many of his drawings have a profound sculptural quality (Albert Luthuli's sculpture). Feni succeeded in imbuing his work with feelings of deep sympathy and humanity. As Justice Albie Sachs has pointed out, Feni's work embodies the ideals and values which we cherish in a democratic South Africa and which are enshrined in our Bill of Rights.
In 1991, shortly before his planned return to South Africa, he died from heart failure while shopping at his favourite music store, Tower Records in New York. His body was returned to South Africa and he is buried in Johannesburg. He didn't live to see the dawning of the New South Africa.
Feni continues to be held in high esteem by succeeding generations of young artists. William Kentridge distinctly recalls having been profoundly moved by the large-scale charcoal drawings that Feni was working on when he visited Bill Ainslies' home as a young boy, and he openly acknowledges the impact that Feni's work had on him.
The death in exile of one of Africa's greatest contemporary artists was a blow to South African art. Dumile Feni, born 21 May 1942 left South Africa to go into exile in 1968, after the powerful statements made in his work resulted in harassment by the apartheid security forces. Feni contributed hugely not only to the African 20th century art world but also to the struggle against apartheid. His works show anguished figures, often contorted as if in immense pain. The figures are clearly African because according to the artist:
"My subjects are Africans because they are my people, but my message, the idea I am bringing to put across has nothing to do with racialism".
Dumile Feni moved from the Cape to Welcome as a child, and then to Queenstown where he began his artistic career. Having been encouraged to draw by his family, Feni's artistic ability blossomed. His practice was further nurtured in 1963 when he was a patient at the Charles Hurwitz SANTA Tuberculosis Hospital in Johannesburg. He was encouraged to draw by the artist Ephraim Ngatane with whom he subsequently painted murals in the hospital. Several persons can claim to have helped Feni to accomplish his career as an artist. Ephraim Ngatane gave him instructions and took him to the Jubilee Art Centre. There he met Cecil Skotnes who developed his drawing techniques. He also worked with Madame Haenggi of Gallery 101 in Johannesburg. Feni worked and spent a lot of time with Bill Ainslie, a friendship spanning over twenty years. It was only a few years later that Feni's work and opposition to apartheid took him to countries as diverse as Nigeria, England, China and the U.S.A.
In 1979, he decided to go to the United States. He journeyed first to Los Angeles and then New York, where he spent the last decade of his life. Although Feni did exhibit in New York, his income derived mainly from designing record covers, posters, calendars and illustrations in books.
Described while in Johannesburg as the Goya of the townships, Feni found his subject matter in the life and events he observed around him. Working primarily with graphic art in monochromatic hues, the artist had the ability and vision to transform the particular into the universal. His works also reflect his deep love of music, especially jazz. And even the disposition of the figures on the page is invested with musical rhythm.
He was also an exceptionally gifted sculptor, skill that is clearly expressed in his art. Though executed entirely in a linear fashion, many of his drawings have a profound sculptural quality (Albert Luthuli's sculpture). Feni succeeded in imbuing his work with feelings of deep sympathy and humanity. As Justice Albie Sachs has pointed out, Feni's work embodies the ideals and values which we cherish in a democratic South Africa and which are enshrined in our Bill of Rights.
In 1991, shortly before his planned return to South Africa, he died from heart failure while shopping at his favourite music store, Tower Records in New York. His body was returned to South Africa and he is buried in Johannesburg. He didn't live to see the dawning of the New South Africa.
Feni continues to be held in high esteem by succeeding generations of young artists. William Kentridge distinctly recalls having been profoundly moved by the large-scale charcoal drawings that Feni was working on when he visited Bill Ainslies' home as a young boy, and he openly acknowledges the impact that Feni's work had on him.
The death in exile of one of Africa's greatest contemporary artists was a blow to South African art. Dumile Feni, born 21 May 1942 left South Africa to go into exile in 1968, after the powerful statements made in his work resulted in harassment by the apartheid security forces. Feni contributed hugely not only to the African 20th century art world but also to the struggle against apartheid. His works show anguished figures, often contorted as if in immense pain. The figures are clearly African because according to the artist:
"My subjects are Africans because they are my people, but my message, the idea I am bringing to put across has nothing to do with racialism".
Dumile Feni moved from the Cape to Welcome as a child, and then to Queenstown where he began his artistic career. Having been encouraged to draw by his family, Feni's artistic ability blossomed. His practice was further nurtured in 1963 when he was a patient at the Charles Hurwitz SANTA Tuberculosis Hospital in Johannesburg. He was encouraged to draw by the artist Ephraim Ngatane with whom he subsequently painted murals in the hospital. Several persons can claim to have helped Feni to accomplish his career as an artist. Ephraim Ngatane gave him instructions and took him to the Jubilee Art Centre. There he met Cecil Skotnes who developed his drawing techniques. He also worked with Madame Haenggi of Gallery 101 in Johannesburg. Feni worked and spent a lot of time with Bill Ainslie, a friendship spanning over twenty years. It was only a few years later that Feni's work and opposition to apartheid took him to countries as diverse as Nigeria, England, China and the U.S.A.
In 1979, he decided to go to the United States. He journeyed first to Los Angeles and then New York, where he spent the last decade of his life. Although Feni did exhibit in New York, his income derived mainly from designing record covers, posters, calendars and illustrations in books.
Described while in Johannesburg as the Goya of the townships, Feni found his subject matter in the life and events he observed around him. Working primarily with graphic art in monochromatic hues, the artist had the ability and vision to transform the particular into the universal. His works also reflect his deep love of music, especially jazz. And even the disposition of the figures on the page is invested with musical rhythm.
He was also an exceptionally gifted sculptor, skill that is clearly expressed in his art. Though executed entirely in a linear fashion, many of his drawings have a profound sculptural quality (Albert Luthuli's sculpture). Feni succeeded in imbuing his work with feelings of deep sympathy and humanity. As Justice Albie Sachs has pointed out, Feni's work embodies the ideals and values which we cherish in a democratic South Africa and which are enshrined in our Bill of Rights.
In 1991, shortly before his planned return to South Africa, he died from heart failure while shopping at his favourite music store, Tower Records in New York. His body was returned to South Africa and he is buried in Johannesburg. He didn't live to see the dawning of the New South Africa.
Feni continues to be held in high esteem by succeeding generations of young artists. William Kentridge distinctly recalls having been profoundly moved by the large-scale charcoal drawings that Feni was working on when he visited Bill Ainslies' home as a young boy, and he openly acknowledges the impact that Feni's work had on him.
The death in exile of one of Africa's greatest contemporary artists was a blow to South African art. Dumile Feni, born 21 May 1942 left South Africa to go into exile in 1968, after the powerful statements made in his work resulted in harassment by the apartheid security forces. Feni contributed hugely not only to the African 20th century art world but also to the struggle against apartheid. His works show anguished figures, often contorted as if in immense pain. The figures are clearly African because according to the artist:
"My subjects are Africans because they are my people, but my message, the idea I am bringing to put across has nothing to do with racialism".
Dumile Feni moved from the Cape to Welcome as a child, and then to Queenstown where he began his artistic career. Having been encouraged to draw by his family, Feni's artistic ability blossomed. His practice was further nurtured in 1963 when he was a patient at the Charles Hurwitz SANTA Tuberculosis Hospital in Johannesburg. He was encouraged to draw by the artist Ephraim Ngatane with whom he subsequently painted murals in the hospital. Several persons can claim to have helped Feni to accomplish his career as an artist. Ephraim Ngatane gave him instructions and took him to the Jubilee Art Centre. There he met Cecil Skotnes who developed his drawing techniques. He also worked with Madame Haenggi of Gallery 101 in Johannesburg. Feni worked and spent a lot of time with Bill Ainslie, a friendship spanning over twenty years. It was only a few years later that Feni's work and opposition to apartheid took him to countries as diverse as Nigeria, England, China and the U.S.A.
In 1979, he decided to go to the United States. He journeyed first to Los Angeles and then New York, where he spent the last decade of his life. Although Feni did exhibit in New York, his income derived mainly from designing record covers, posters, calendars and illustrations in books.
Described while in Johannesburg as the Goya of the townships, Feni found his subject matter in the life and events he observed around him. Working primarily with graphic art in monochromatic hues, the artist had the ability and vision to transform the particular into the universal. His works also reflect his deep love of music, especially jazz. And even the disposition of the figures on the page is invested with musical rhythm.
He was also an exceptionally gifted sculptor, skill that is clearly expressed in his art. Though executed entirely in a linear fashion, many of his drawings have a profound sculptural quality (Albert Luthuli's sculpture). Feni succeeded in imbuing his work with feelings of deep sympathy and humanity. As Justice Albie Sachs has pointed out, Feni's work embodies the ideals and values which we cherish in a democratic South Africa and which are enshrined in our Bill of Rights.
In 1991, shortly before his planned return to South Africa, he died from heart failure while shopping at his favourite music store, Tower Records in New York. His body was returned to South Africa and he is buried in Johannesburg. He didn't live to see the dawning of the New South Africa.
Feni continues to be held in high esteem by succeeding generations of young artists. William Kentridge distinctly recalls having been profoundly moved by the large-scale charcoal drawings that Feni was working on when he visited Bill Ainslies' home as a young boy, and he openly acknowledges the impact that Feni's work had on him.
selected artworks
view all
view all
view all
view all
VIEW ALL ARTISTS