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Jean Besancenot"Woman of Tiznit Wearing the Amendil", from "Costumes of Morocco"1942
1942
$1,800
£1,344.51
€1,558.75
CA$2,499.26
A$2,801.34
CHF 1,458.58
MX$34,205.60
NOK 18,518.63
SEK 17,554
DKK 11,629.96
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About the Item
"Femme de Tiznit Portant L'Amendil" translated to "Woman of Tiznit Wearing the Amendil" is plate number 47 in Jean Besancenot's stunning portraits and depictions of the people of Morocco from his series "Costumes du Maroc" ("Costumes of Morocco). The woman depicted here is from the coastal city of Tiznit and is draped in a functional and elegant headscarf known as the amendil. Tiznit, in the southern part of Morocco, is known for its silver craftsmanship and numerous tourist destinations. The amendil is a traditional Amazigh (also known as Berbers) head covering with strong cultural associations with the Kabyle people. The amendil was usually made of wool, a plain weave with henna paint and dyed.
Jean Besancenot's sixty plate reproduced gouache on paper study on the diversity of Morocco's cultures is a work of stunning historical importance in tracing the rich and vibrant diversity of North Africa. Besancenot spent the 1930s traveling around Morocco, undertaking an awe-inspiring study of its peoples and rendered in vivid and precise detail the way they traditionally lived and dressed. Many of those outfits and cultural expressions are gone now, with Besancenot's watercolored drawings of them some of the only ways that people can now visit the past. The original manuscript of "Costumes du Maroc" is kept in the Royal Collection in Rabat, with only 310 copies of it produced. Unframed the image of the print is 12.75 x 7.75 inches. The tissue guards that bear the caption of the plate have been framed in the verso with the title visible behind clear plastic.
Jean Besancenot, real name Jean Girard, was a photographer, painter, designer, and ethnologist who was born in 1902 in Estrées-Saint-Denis. His work straddles the crossroads of art and ethnography as he was primarily interested in the costumes and ornaments of Morocco in the first half of the 20th century. He arrived for the first time in Morocco in 1934, a country he traveled through until 1939. There he produced a very rich ethnographic documentation on the traditional costumes and adornments of the different Moroccan ethnic groups. His work, composed of photographs, films, drawings and paintings, testifies to the aestheticism of Moroccan cultural heritage that was still marked by little Western influence.
His book "Costumes du Maroc" was published in 1942 at the end of his first trip and presents 60 documented plates of Moroccan costumes and their meanings in local customs. In 1947, Jean Besancenot became the iconographic manager of the Protectorate of France in Morocco where he was responsible for carrying out a documentation mission on Moroccan folklore and crafts. Besancenot encountered many difficulties in carrying out his work, some of the Moroccan Muslims being hostile to the representation of the human figure. As he was met with suspicion and superstition, with doors being frequently closed to all strangers and women rarely coming out with their faces uncovered, he had to work with photographic snapshots and wait a long time at the doors of homes and businesses to catch glimpses of the people. The work required five years of research and direct contact with the population. Besancenot chose 60 outfits that best characterize, according to him, the folklore of the Moroccan populations.
He subsequently became a collaborator at the Musée de l'Homme in Paris. His work was particularly honored at the Maison de la photographie de Marrakech in 2018. He died in 1992 in Bry-sur-Marne.
Photography by PD Rearick
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