Skunder Boghossian was a pioneering figure in modern African art, widely regarded as one of Ethiopia’s most influential modernist artists. His work, rich in symbolism and cultural synthesis, draws on both African traditions and Western avant-garde influences, creating a unique visual language. Boghossian’s vibrant use of colour, intricate compositions, and surrealist tendencies speak to themes of diaspora, memory, and the intersection of ancient and modern worlds. His work left a quintessential mark on Ethiopian modernism and do this day he is an inspiration to many artists of Ethiopian descent. The renowned Ethiopian poet and cultural critic Solomon Deressa emphasized that Skunder’s art was an embodiment of the Ethiopian Spirit while simultaneously being an agent of change.
Born in Addis Ababa in 1937, Boghossian's early artistic development was shaped by his exposure to Ethiopian religious iconography and oral traditions. His journey into modernism began when he moved to Europe in the 1950s, where he studied at the Académie de la Grande Chaumière in Paris, absorbing the influences of Surrealism, Cubism, and African masks. These diverse elements merged in his work, producing a dynamic style that blended abstraction with figuration, myth with history, and tradition with innovation. Boghossian’s work often delves into themes of identity, mysticism, and cultural heritage, reflecting his dual identity as both Ethiopian and a global artist. His art defies easy categorization, moving fluidly between the spiritual and political, the personal and collective.
The Jugglers is a wonderful and important example of his work during the early days of his life in Paris. These years were hugely formative for Skunder’s artistic practice. After his arrival in 1957 He immersed himself quickly in the vibrant multicultural art scene. (Image 1) Paris at the time attracted artists from all over the world especially African Americans artists as they found a more open and liberal world then the one back home where segregation was still a reality. France was in the midst of the Algerian revolution and Skunder’s arrival coincided with the pinnacle of the movement for African Liberation and independence. His encounters with Aimé Césaire, one of the founders of the Negritute movement, Cheikh Anta Diop and Franz Fanon left a lasting outlook of Skunder’s artistic and political outlook. These were the last days of colonialism and African artists and intellectuals were reclaiming their cultural narrative and creating their own version of modernism.
The Jugglers is painted against this backdrop and just after the attempted coup on Emperor Haile Selassie’s government in 1960. Painted about a year before his most important Nourisher series (Image 2) this rare work gives us an insight into Skunder’s years in Paris leading up to his breakthrough exhibition at the Lambert gallery in 1964 and development as an artist. Exposed to a multitude of artists, techniques and movements he was encouraged to explore the riches of African heritage and culture. In this work we can clearly see the influence of Afro -Cuban painter Wilfredo Lam who’s work Skunder hugely admired and was introduced to by Gerard Sekoto in 1959. Lam's fusion of African, Caribbean, and European elements in his work, along with his emphasis on Afro-Cuban spiritual themes, resonated deeply with Boghossian. Both artists sought to create a new visual language by integrating African identity and symbolism within modern art. During his stay in Paris he increasingly aligned himself with the politics and practices of Surrealism, specifically the Caribbean translations by Aime Cesaire and Lam. Critics assumed that his affiliations with modernists such as Max Ernst and Andre Breton had influenced him but in his own words is reflected that he felt very drawn to the networks of African, African diasporic and Latin American artists. Inspiring him to connect to his mystical orthodox Christian heritage and African Mythology as a vehicle to voice the struggles of anticolonialism and black transnationalism. We can see this reflected in the Jugglers. Here the influence of Lam’s stylistic figuration and hybrid figures is clearly visible. (Image 3) The elongated and fragmented forms with multiple limbs and exaggerated gestures are reminiscent of African masks and sculptures. The positioning of these figures suggests movement, giving the impression of juggling not only physical objects but also cultural elements and spiritual symbols. Skunder uses earthy tones, such as ochre, brown, and deep red, alongside occasional brighter hues, like blues and yellows, creating an atmospheric feel that emphasizes both earthiness and mysticism. The muted colours connect the painting to the natural and the spiritual, hinting at Ethiopia’s landscape and its cultural vibrancy, while the brighter spots draw attention to the focal figures and their gestures. The chaotic movement of the figures could be seen as a metaphor for the balancing act required to maintain a sense of identity amidst diverse influences. It could also represent the instable political climate of Ethiopia after the attempted coup on Haile Selassie’s government, making The Jugglers a dynamic and powerful reflection of Boghossian’s artistic and cultural journey.
Although only returning to Addis Ababa for 3 years in 1966 before leaving to the US to never return his influence on the art scene was and is profound. Soon after his return he started teaching at the Fine Art school in Addis Ababa at the same time as Gebre Kristos Desta. The exchange of ideas between the two artists significantly influenced the Ethiopian art scene to this day, influencing artists like Wosene Kosrof, Tadesse Mesfin and Zerihun Yetmgeta. Skunder’s impact is seen in the ways he championed African identity through art that was neither confined to Western frameworks nor detached from African roots. His teachings, particularly during his tenure at Howard University in Washington, influenced a new wave of African and African American artists, spreading his philosophy that art should be both a personal and collective testament to one’s heritage and experiences. Museums and galleries around the world continue to showcase his art as a testament to his revolutionary approach, which combined the vibrant spirituality of Ethiopian iconography with the bold experimentation of modernist movements.