A Collection African Studies Bibliographies and Archival Materials

Drawing and Painting

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• Adam, Maimuna. “Artist’s Statement.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 56.
• Adegborioye, Kunle. From a Distance: An Exhibition of Paintings (Battersea District Library, London, July 21-August 1, 1992). London: Ranelagh Press, 1992.
• Ademolu, Edward. "A Pictured Africa: Drawing as a Visual Qualitative Research Methodology for Examining British African Diaspora Imaginings of Their Ancestral ‘Home’." Visual Studies 37, no. 4 (Sept. 2022): pp. 296-310.
• Adenaike, Tayo. Tayo Adenaike: Solem Notes in 30 Watercolors. New Orleans: Tayo Adenaike, 1992.
• Adeyemi, Kunle, Kola Anidugbe, and Saburi Adebesin. Cultural Restrospect: An Exhibition of Paintings, Mixed Media Works, Drawings and Carvings at the National Museum Exhibition Hall II Onikan, 30 April-14 May 1992. Lagos: Frame Art, 1992.
• Ajayi, Wale. Color Waves: An Exhbition of Paintings and Drawings. Lagos: National Commission for Museums and Monuments, 1992.
• Akakpo, Barbara. "Exhibition by Ademola Akintola." West Africa (London) 3885 (March 2-March 8, 1992): p. 393.
• Ali-Khodja, Ali. Ali-Khodja: oeuvres récentes: Galerie M'Hamed Issiakhem du 14 septembre au 14 octobre 1986. Algiers: Office Riadh El-Feth, 1986.
• Aliyu, Hassan, Chike Azuonye, and Jon Churchill. Hassan Aliyu, Chike Azuonye, Jon Churchill. London: 198 Gallery, 1992.
• Althoff, Gabriele. "Alltag einer Künztlerin: Theresa Musoke." Jambo Umlaut: Zeitschrift für kenianisch deutschen Kulturaustausch (Nairobi) 6 (Aug.-Dec. 1992): pp. 19-20.
• Althoff, Gabriele. "Der Künstler und das Essen: Jak Katarikawe in Deutschland." Jambo Umlaut: Zeitschrift für kenianisch deutschen Kulturaustausch (Nairobi) 6 (Aug.-Dec. 1992): pp. 34-5.
• Amoah, Adwoa. “Artist’s Statement.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 55.
• Anikulapo, Jahman. "In the Deep Waters at Didi." Guardian (Lagos) (Sept. 26, 1992): p. 19.
• Aquarelles de Khadda: Galerie M'Hamed Issiakhem du 6 juin au 4 juillet 1986. Algiers: Office Riadh El-Feth, 1986.
• Asedegbega, Augustine. Harvest of Unity: An Exhibition of Paintings and Sculptures. Lagos: Akin Ogunlesi, 1991.
• Ater, Renée. Keith Morrison. The David C. Driskell Series of African American Art: Volume V. Petaluma, CA: Pomegranate Communications, 2005.
• Balicka-Witakowska, Ewa. "The Iconography of the Deposition in Ethiopian Painting," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 15-22. London: The Pindar Press, 1989.
• Balogun, Sola. "African Culture Shines on Ekefrey's Pallete." Guardian (Lagos) (Jan. 16, 1993): p. 16.
• Bausi, Allessandro. "Some Short remarks on the Canon Tables in Ethiopic Manuscripts," in Proceedings of the Sixth International Conference on the History of Ethiopian Art, Addis Ababa, 5-8 November 2002 edited by Birhanu Teferra and Richard Pankhurst, pp. 109-119. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Becker, Cynthia and Alex Zito. “Yelimane Fall: Senegalese Calligraphy in Action.” African Arts 47, no 2 (Summer 2014): 28-39.
• Bender, Wolfgand. "From God to Man: Wandmalerei in Sierra Leone (West-Afrika)." Ika: Zeitschrift für Kulturaustausch & Kulturkalender “Dritte Welt” (Hamburg) 41 (Feb. 1991): pp. 22-24.
• Biaya, Tshikala K. "Le peinture populaire comme mode d'action politique des classes dominées au Zaïre, 1960-1989.” Contemporary French Civilization, special issue Afrique et Antilles francophones edited by Claude Bouygues (Bozeman, MT) 14, 2 (1990): pp. 334-351.
• Binstock, Jonathan P. Sam Gilliam: A Retrospective. Forwards by Walter Hopps and Jacquelyn D. Serwer. Berkeley, CA: University of California Press, 2005.
• Boji, T'Chai. "Paintings in Process: A Look at Picture-Making in the Work of Kofi Dawson." Bambolse (Kumase) 1, no. 2 (Feb. 1992): pp. 5-6.
• Bosc-Tissé, Claire. "The Use of Occidental Engravings in Ethiopian Painting in the 17th and 18th Centuries," in The Indigenous and the Foreign in Christian Ethiopian Art: On Portuguese-Ethiopian Contacts in the 16th-17th Centuries: Papers from the Fifth International Conference on the History of Ethiopian Art (Arrábida, 26-30 November 1999) edited by Manuel João Ramos and Isabel Boadvida, pp. 82-102. Hants, England: Ashgate, 2004. [Reviewed by Peri Klemm in International Journal of African Historical Studies (Boston) 39, no. 1 (2006): pp. 162-163.]
• Bosc-Tissé, Claire and Anaïs Wion. Peintures sacrées d'Éthiopie: Collection de la Mission Dakar-Djibouti. St-Maur-des-Fossés, France: Editions Sépia, 2005. [Review by Alain Gascon available online in Cahiers d'études africaines (Paris) 185 (2007): 175-178; online by Marilyn E. Heldman on H-Net, available at http://www.h-net.org/reviews/showrev.cgi?path=260571159902048.]
• Bosland, Joost. "The Africa Paradox," in Four Generations: The Joyner/Giuffrida Collection of Abstract Art edited by Courtney J. Martin, pp. 303-309. New York: Gregory R. Miller, 2016.
• Bräunlein, Peter. "Obiora Udechukwu: Lyriker und Grafiker aus Nigeria." Ika: Zeitschrift für Kulturaustausch & Kulturkalender "Dritte Welt" (Hamburg) 41 (Feb. 1991): pp. 25-26.
• Buchthal, H. "An Ethiopic Miniature of Christ Being Nailed to the Cross," in Atti del convegno internazionale di studi etiopici. Problemi attuali di scienza e di cultura 48. Rome: Accademia Nazionale dei Lincei, 1960.
• Campbell, Bolaji Victor. "Colour Attitudes: A Critique of Seven Nigerian Painters." Artifacts (Lagos) 1, no. 1 (1992): pp. 8-9, 11.
• Campbell, Bolaji Victor. "Colour Attitudes: A Critique of Seven Nigerian Painters." Kurio Africana: Journal of Art and Criticism (Ile-Ife) 1, no. 2 (1989): pp. 42-51.
• Campbell, Bolaji Victor. "The Trial of 'Traditional' Art: The Bird Symbolism in Contemporary Yoruba Painting," in Principles of "Traditional" African Art edited by Moyo Okediji, pp. 54-69. Ile-Ife: Bard Book, 1992.
• Campbell, Ian. "An Introduction to Form and Spatial Construction in Ethiopian Iconography," in Proceedings of the Sixth International Conference on the History of Ethiopian Art, Addis Ababa, 5-8 November 2002 edited by Birhanu Teferra and Richard Pankhurst, pp. 31-108. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Celebration of Life: An Exhibition of Paintings, Drawings, Sculptures at the Main Hall of the National Commission for Museum and Monuments, Onikan, Lagos. Lagos: First Finance & Trust, 1992.
• Celis, Georges and Thérèse. "Les peintures murales intérieurs des habitations du Migongo (Rwanda)." Africa-Tervuren 17, no. 2 (1971): pp. 47-61.
• Cerulli, E. "Il 'Gesù percosso' nell'arte etiopica e le sue origini nell'Europa del XV secolo." Rassegna di Studi Etiopici (Rome) 6 (1947): pp. ????.
• Chiappini, Rudy. Jean-Michel Basquiat. Milan: Skira, 2005.
• Chojnacki, Stanislaw. "Attempts at the Periodization of Ethiopian Painting," in Proceedings of the Sixth International Conference on the History of Ethiopian Art, Addis Ababa, 5-8 November 2002 edited by Birhanu Teferra and Richard Pankhurst, pp. 3-30. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Chojnacki, Stanislaw.  Ethiopian Icons: Catalogue of the Collection of the Institute of Ethiopian Studies, Addis Ababa University.  Milan: Skira, 2000.
• Chojnacki, Stanislaw. "Ethiopian Warrior Saints in 18th-Century Miniatures and Their Significance in the Cultural History of Ethiopia," in The Indigenous and the Foreign in Christian Ethiopian Art: On Portuguese-Ethiopian Contacts in the 16th-17th Centuries: Papers from the Fifth International Conference on the History of Ethiopian Art (Arrábida, 26-30 November 1999) edited by Manuel João Ramos and Isabel Boadvida, pp. 73-82. Hants, England: Ashgate, 2004. [Reviewed by Peri Klemm in International Journal of African Historical Studies (Boston) 39, no. 1 (2006): pp. 162-163.]
• Chojnacki, Stanislaw.  Major Themes in Ethiopian Painting: Indigenous Developments, The Influence of Foreign Models and Their Adaptation from the 13th to the 19th Century.  Wiesbaden: Franz Steiner Verlag GMBH, 1983.
• Chojnacki, Stanislaw. "The Theme of the Bitter Water in Ethiopian Painting," in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 53-67. London: Jed Press, 1993.
• Clarke, Christa. My Ethiopia: Recent Paintings by Wosene Worke Kosrof. Newark, NJ: Neuberg Museum of Art, 2003. [Reviewed by Peri M. Klemm in African Art 37, no. 3 (Autumn 2007): pp. 8-11, 86.]
• Contemporary Ethiopian Artists at Fondo del Sol. Washington, D.C.: Fondo del Sol Visual Art and Media Center, 1984.
• Cosentino, Donald J. Divine Revolution: The Art of Edouard Duval-Carrié. Los Angeles: UCLA Fowler Museum of Cultural History, 2005.
• Davies, Desmond. "An Artist for All Seasons." New African (London) 302 (Nov. 1992): p. 33.
• Davies, Kristian. The Orientalists: Western Artists in Arabia, the Sahara, Persia & India. New York: Laynfaroh, 2005.
• Dike, Paul Chike and Patricia Oyelola. Aina Onabolu: Symbol of the National Studios of Art. Lagos: National Gallery of Art, 1999.
• Diouf, Mamadou. "Fresque murales et écriture de l'histoire: Le Sét Sétal à Dakar." Politique africaine (Paris) 46 (1992): pp. 41-54.
• Diouf, Mamadou. "Islam: Peinture sous verre et idéologie populaire," in Art pictural zaïrois edited by Bogumil Jewsiewicki, pp. 29-40. Sillery, Quebec: Septentrion, 1992.
• "Doyen of Black Artists: Uzo Egonu, Nigerian Printmaker and Painter." West Africa (London) 3894 (May 4-10, 1992): p. 747.
• Elias, Girma. "A Note on Wall Paintings in Balci Ammanu'el (Sankora Ammanu'el Church)," in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 95-97. London: Jed Press, 1993.
• Eman, Carla Zanotti. "the Harag of the Manuscripts of Gunda Gundi," in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 68-72. London: Jed Press, 1993.
• Fischer, Eberhard and Hans Himmelheber. The Arts of the Dan in West Africa. Zürich: Museum Rietberg, 1984.
• Fisseha, Girma. "Ethiopian Mesengers in Art and History," in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 98-101. London: Jed Press, 1993.
• Fisseha, Girma. "Ahmad Grann and the Portuguese in Ethiopian Folk Painting," in The Indigenous and the Foreign in Christian Ethiopian Art: On Portuguese-Ethiopian Contacts in the 16th-17th Centuries: Papers from the Fifth International Conference on the History of Ethiopian Art (Arrábida, 26-30 November 1999) edited by Manuel João Ramos and Isabel Boadvida, pp. 113-118. Hants, England: Ashgate, 2004. [Reviewed by Peri Klemm in International Journal of African Historical Studies (Boston) 39, no. 1 (2006): pp. 162-163.]
• Fisseha, Girma. "The Ethiopian Avant-garde in the Thirties and 'Tejbet' Painting," in Proceedings of the Sixth International Conference on the History of Ethiopian Art, Addis Ababa, 5-8 November 2002 edited by Birhanu Teferra and Richard Pankhurst, pp. 221-235. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Fisseha, Girma. "The Hunt in Ethiopian Folk Art," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 104-109. London: The Pindar Press, 1989.
• Fleurier, David-Dominique. "La base de données Mandragore: un outil pour étudier le décor des manuscrits coptes," in Etudes coptes X Douzième journée d'études (Lyon, 19021 mai 2005) edited by Anne Boud'hors and Catherine Louis, pp. 259-262. Cahiers de la bibliothèque copte 16. Paris: De Boccard, 2008.
• Gioni, Massimiliano, ed. Chris Ofili: Night and Day. New York, NY: Skira Rizzoli, 2014.
• Giorghis, Elizabeth W. Modernist art in Ethiopia. Athens, OH: Ohio University Press, 2019.
• "Glass Paintings from Senegal," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 78-79. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• "Les graveurs de poto-poto: Résumé de la Conférence du professeur Rolf Italiaander (décembre 1960, Société des Africanistes)" Journal de la Société des Africanistes 30, no. 2 (1960): pp. 229-231.
• Heldman, Marilyn E. "An Ewostathian Style and the Gunda Gunde Style in Fifteenth-Century Ethiopian Manuscript Illumination," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 5-14. London: The Pindar Press, 1989.
• Idahor, Taiye. “Artist’s Statement.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 53.
• "Jak Katarikawe: One Artist, Two Brushes." New Age (Nairobi) 5, no. 1 (Jan.-Feb. 1992): p. 5.
• Jari, Jacob. Three From Zaria: An Exhibition of Paintings and Drawings. Lagos: Goethe-Institut, German Cultural Centre, April 4-16, 1992.
• Jari, Jacob. Zaria Unites: An Exhibition of Paintings and Sculptures. Lagos: Goethe-Institut, German Cultural Center, 1992.
• Jenkins, Earnestine. "Four Miniatures from 18th-19th Century Sawa: An African Perspective?" in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 102-108. London: Jed Press, 1993.
• Jewsiewicki, Bogumil. "Peintres de cases, imagiers et savants populaires du Congo, 1900-1960: Un essai d'histoire de l'esthétique indigène." Cahiers d'études africaines 31, no. 123 (1991): pp. 307-326
• "Joël Mpah Dooh," in Anthologie de l'art africaine du XXe siècle edited by N'Goné Fall and Jean Loup Pivin, pp. 390. Paris: Editions Revue Noire, 2001.
• Johnston, Hannah. "Hannah Johnston on Julie Mehretu," in Four Generations: The Joyner/Giuffrida Collection of Abstract Art edited by Courtney J. Martin, pp. 196-201. New York: Gregory R. Miller, 2016.
• Juel-Jensen, Bent. "An Aksumite Survival in Late Mediaeval Ethiopian Miniatures," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 41-43. London: The Pindar Press, 1989.
• Kaïteris,Constantin.  Rouleaux magiques éthiopiens – I. Déroulement de l’ange.  Apt: L’Archange Minotaure, 2006.
• Kaïteris,Constantin.  Rouleaux magiques éthiopiens – II.  Enchantement du demon.  Apt: L’Archange Minotaure, 2006.
• Karnouk, Liliane. Modern Egyptian Art: 1910-2003. New York: The American University in Cairo Press, 2005.
• Karnouk, Liliane. Modern Egyptian Art: The Emergence of a National Style. Forward by P. J. Vatikiotis. Cairo: The American University in Cairo Press, 1988.
• Kerman, Monique. “Cut to the Chase: The Work of Mary Evans.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 58-64.
• Kidane, Girma. Contemporary Art in Ethiopia, 1977. Addis Ababa: Berhanena Selam Printing Press, 1977.
• Kidane, Girma. "Four Traditional Ethiopian Painters and Their Life Histories," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 72-77. London: The Pindar Press, 1989.
• Kindred, Wendy. "Skunder and Modern Ethiopian Art" in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 126-133. London: Jed Press, 1993.
• Klopper, Sandra. "Sacred Fragments: Looking Back at the Art of Paul Stopforth." African Arts (Los Angeles) 37, no. 4 (Winter 2004): pp. 68-73, 96.
• Korngold, Michel and Aïda' Sy-Wonyu. Mémoire d’hier, mémoire de demain: art tribal et peinture contemporaine, Douala - 2014. Douala: Institut français du Cameroun, 2014.
• Labi, Kwame Amoah. "Afro-Ghanaian Influences in Ghanaian Paintings." Journal of Art Historiography 9 (Dec. 2013): pp. 1-23.
• Leering, Carola. "Fodé Camara: 'Je suis un Africain qui peint, ce qui est différent à un peintre Africain," in De receptie van Afrikaanse kunst, pp. 18-22. Amsterdam: Stichting Kunstilicht, 1992.
• Lehuard, Raoul. "Pygmées? Peintures sur écorce battue des Mbuti au Musée Dapper." Arts d'Afrique noire 79 (Autumn 1991): pp. 33-34.
• Lesourd, Michel. "Dessins géométriques composés par les élèves des écoles coraniques d'In Çalah." Journal de la Société des Africanistes 6, no. 2 (1936): pp. 213-216.
• Loko, El. El Loko: Bilder und Skulpturen: 4.Okt.-2.Nov. 1991, Cubus Kunsthalle. Duisburg, Germany: Die Kunsthalle, 1991.
• Loumpet-Galitzine, Alexandra. "Ibrahim Njoya, maître du dessin bamoun," in Anthologie de l'art africaine du XXe siècle edited by N'Goné Fall and Jean Loup Pivin, pp. 102-5. Paris: Editions Revue Noire, 2001.
• Loumpet-Galitzine, Alexandra. Njoya et le royaume bamoun: Les archives de la Société des Missions Evangéliques de Paris. Paris: Karthala, 2006.
• "Matar." Revue noire (Paris) 4 (March-April-May 1992): pp. 12-15.
• McEwan, Robin. "The Revelation Illuminations of Qwesquam and Derasge as Assertions of Political Destiny," in Proceedings of the Sixth International Conference on the History of Ethiopian Art, Addis Ababa, 5-8 November 2002 edited by Birhanu Teferra and Richard Pankhurst, pp. 120-139. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Mediene, Benamar. "La peinture algérienne 1940-1962: du silence aux remous: M'hamed Issiakhem (1928-1985)," in Pratiques et résistances culturelles au Maghreb edited by Noureddine Sraieb, pp. 177-96. Paris: Editions du Centre National de la Recherche Scientifique, 1992.
• Mercier, Jacques. Art That Heals: The Image as Medicine in Ethiopia. New York. Museum for African Art, 1997.
• Mercier, Jacques. Vierges d’Ethiopie. Montpellier, France: Archange minotaure, 2004.
• Meurant, Georges. "Le dessin des Mbuti de l'Ituri." Arts d'Afrique noire 78 (Summer 1991): pp. 15-22.
• Meurant, Georges and Robert Farris Thompson. Mbuti Design: Paintings by Pygmy Women of the Ituri Forest. London: Thames and Hudson, 1995.
• Moges, Girma. "African Characteristics in Traditional Ethiopian Art" in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 109-113. London: Jed Press, 1993.
• Moyer, Eileen. "A Review of Congo in Cartoons: 102 Paintings by Tshibumba (Amsterdam: Koninklijk Instituut voor de Tropen, Tropenmuseum, May 14 - October 3, 2004)." African Arts (Los Angeles) 37, no. 4 (Winter 2004): pp. 81-82.
• Nasidi, Nadir A. "Some Biographical Notes on Artists of Sacred Sufi Painting in Kano, Nigeria." Journal of West African History 9, no. 2 (Fall 2023): pp. 1-20.
• Niederstadt, Leah. "Framing Images: The Evolution of a Narrative Format in Ethiopian Popular Painting," in Proceedings of the Sixth International Conference on the History of Ethiopian Art, Addis Ababa, 5-8 November 2002 edited by Birhanu Teferra and Richard Pankhurst, pp. 311-322. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Nwagboso, Maxwell. "Cosmopolitan Man." West Africa. (London) 3907 (Aug. 3-9, 1992): p. 1329.
• O'Kane, Bernard. "The Uses of Captions in Medieval Literary Arabic Manuscripts," in Arab Painting: Text and Image in Illustrated Arabic Manuscripts edited by Anna Contadini, pp. 135-144. Leiden: Brill, 2007.
• Ose, Elvira Dyangani. "Elvira Dyangani Ose on Robin Rhode," in Four Generations: The Joyner/Giuffrida Collection of Abstract Art edited by Courtney J. Martin, pp. 310-313. New York: Gregory R. Miller, 2016.
• Ottenberg, Simon. New Traditions From Nigeria: Seven Artists of the Nsukka Group. Washington, D. C. and London: Smithsonian Institution Press in association with The National Museum of African Art, 1997.
• "Ouattara." Revue Noire (Paris) 5 (June-July-Aug. 1992): pp. 36-47.
• Ould Mohamed Lemine, Idoumou. "De Oualata à la peinture contemporaine: Naissance d'un art." in Tendances de la peinture contemporaine au Maghreb edited by Moulim El Aroussi, et al., pp. 49-54. Milan: Imprimerie Monolito, 1990.
• Ould Mohamed Lemine, Idoumou. "La Peinture en Mauritanie." Al Mawkib Al Thaqafi 9-10 (Jan./Feb.-Mar./April 1997): pp. 18-22.
• Pankhurst, Richard. "The Battle of Adwa (1896) as Depicted by Traditional Ethiopian Artists," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 78-103. London: The Pindar Press, 1989.
• Pankhurst, Richard. "A Note on the Coming to Gondar of the Painting of the Virgin of Santa Maria Maggiore," in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 93-94. London: Jed Press, 1993.
• Parker, Ann and Avon Neal. Hajj Paintings: Folk Art of the Great Pilgrimage. Washington, DC and London: Smithsonian Institution Press, 1995.
• Pedersen, Kirsten Stoffregen. "Ethiopian Iconography in Jerusalem, 1970-1990," in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 141-144. London: Jed Press, 1993.
• Pedersen, Kirsten Stoffregen. "Influence of Ethiopian Iconography on Non-Ethiopian Painters," in Proceedings of the Sixth International Conference on the History of Ethiopian Art, Addis Ababa, 5-8 November 2002 edited by Birhanu Teferra and Richard Pankhurst, pp. 152-163. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Perczel, Csilla Fabo.  Ethiopia: Folk Art of a Hidden Empire.  La Jolla, CA: Mingei International Museum of World Folk Art, 1983.
• Perczel, Csilla Fabo. "Ethiopian Illuminated Ornament," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 59-62. London: The Pindar Press, 1989.
• Pilley, Anthony. Sketches of Belo/Apuntes de Belo: Cameroon. N.p.: Summerhouse, 2009.
• "Pioneering Artist." West Africa (London) 3913 (Sept. 14-20, 1992): p. 1563.
• Pivin, Jean Loup. “El Hadji Sy.” Revue noire (Paris) 7 (Dec. 1992-Feb. 1993): pp. 10-12.
• Pivin, Jean Loup. “Joe Ouakam: Art as a Path to Knowledge/L'art comme voie de connaissance.” Revue noire (Paris) 7 (Dec. 1992-Feb. 1993): pp. 7-9.
• Pivin, Jean Loup. “Kan-Si.” Revue noire (Paris) 7 (Dec. 1992-Feb. 1993): p. 23.
• Pivin, Jean Loup and Issa Samb. “Mor Faye.” Revue noire (Paris) 7 (Dec. 1992-Feb. 1993): pp. 4-6.
• Racim, Mohammed. Mohammed Racim, miniaturiste algérien: du 3 au 29 mars 1992, Musée de l'Institut du Monde Arabe (Paris). Paris: Institut du Monde Arabe, 1992.
• Rammow, Helga. "Babilónia '86: Assoziationen beim Betrachten von Hafengrafitti auf den Kapverdischen Inseln," in Vielfalt der Kultur edited by Karl-Heinz Kohl, pp. 422-440. Berlin: Reimer, 1990.
• Raunig Walter. "Ethiopian Folk Art Painting," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 69-71. London: The Pindar Press, 1989.
• Religiöse Kunst Äthiopiens/Religious Art of Ethiopia.  Stuttgart: Institut für Auslandsbehziehungen, 1973.
• Robbroech, Lize van. "Beyond the Tradition/Modernity Dialectic: African Nationalist Subjectivities in South African Print and Visual Culture of the Early Twentieth Century." Cultural Studies 22, no. 2 (March 2008): pp. 209-233.
• Roberts, Allen F. "Icons from the end of days: Visual hagiography among Layennes of Senegal." World Art 3, no. 2 (2013): pp. 235-258.
• Rosen, Miriam. Albert Benamou présente Asse: Peintures: Découvertes, Grand Palais, 1992, 14-23 février. Paris: A. B. Galleries, 1992.
• Rosen, Miriam. "Asse." Artforum (New York) 30, no. 6 (Feb. 1992): p. 108.
• Ross, Doran H. "Artists Advertising Themselves: Contemporary Studio Facades in Ghana." African Arts 37, no. 3 (Autumn 2004): pp. 72-79.
• Ross, Doran H. "George Hughes (Portfolio)." African Arts 34, no. 1 (Spring 2001): pp. 50-57.
• Savary, Claude. "Situation et histoire des Bamum: Notes à propos de la collection des dessins bamum du Musée d'ethnographie de Genève." Bulletin annuel: Musée et Institut d'ethnographie de la Ville de Genève 20 (1977): pp. 117-138.
• Savary, Claude. "Situation et histoire des Bamum (II)." Bulletin annuel: Musée et Institut d'ethnographie de la Ville de Genève 21-22 (1978): pp. 121-161.
• Schweeger-Hefel, Annemarie. "Dessins d'enfants kurumba de Mengao, Haute-Volta." Journal des africanistes 51, no. 1-2 (1981): pp. 251-264.
• as-Shal, Mahmoud an-Nabawi. Mahmoud Said (1897-1964). Translated by Mohamed Abd el Hamid Ambar. Série Arts. Cairo: Prisme/Ministère de la culture, département de l'information à l'étranger, 1984.
• Sijelmassi, Mohamed. La Peinture marocaine. Paris: Editions Jean-Pierre Taillandier, 1972.
• Silverman, Raymond A. Painting Ethiopia: The Life and Work of Qes Adamu Tesfaw. Los Angeles: UCLA Fowler Museum of Cultural History, 2005.
• Silverman, Raymond A. "Painting Ethiopia: The Life and Work of Qes Adamu Tesfaw (Exhibition Preview)." African Arts 37, no. 3 (Autumn 2004): pp. 62-71, 92.
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