Oliver Enwonwu is the son of the late renowned painter and sculptor, Prof. Ben Enwonwu. In an interview with Oladimeji Ramon, Oliver shares his memories of his father’s personality, artistic craft, and lasting impact. Nearly 29 years after his father’s passing, Oliver recalls fond memories of Prof. Enwonwu’s elegant dressing style and charismatic presence. He was always the life of the party, known for his jovial nature and ability to engage everyone in the room. Prof. Enwonwu was also a diligent worker who encouraged his children to stay active and busy. He had a passion for gardening and often spent early mornings tending to his plants. His commitment to excellence was evident in everything he did, and he instilled this value in his children, often helping Oliver with his school art assignments.
Prof. Enwonwu is often described as “arguably the most influential African artist of the 20th century” and “Africa’s Greatest Artist.” This reputation stems from his significant contributions to the art world, particularly in a time when many parents discouraged their children from pursuing art in favor of more traditional professions like medicine or law. His achievements inspired a new generation of artists who aspired to follow in his footsteps. Notably, he was the first artist to create a statue of the Queen of England in 1957, which brought international recognition to Nigeria. His works, such as “Sango” and “The Drummer,” are deeply embedded in Nigeria’s national consciousness. Additionally, his sculpture “Anyanwu,” located at the United Nations headquarters, symbolizes peace and global unity. As Nigeria’s first professor of art, he is celebrated for merging Western artistic traditions with indigenous African aesthetics, solidifying his status as a pioneer modernist artist by the 1950s.
Oliver reflects on the unique elements that distinguished his father’s work, particularly his psychological expressions and the way he exaggerated human anatomy to convey movement and rhythm. Prof. Enwonwu’s art often featured elongated limbs and torsos, capturing the essence of African dance and culture. His use of color, especially Prussian blue and yellow ochre, contributed to the vibrancy of his pieces. During his active years, he was known for his spontaneous approach to creativity, often painting directly onto the canvas without preliminary sketches. He believed in incorporating accidental strokes into his work, treating the materials with respect and allowing the natural qualities of the wood to guide his sculptures.
Oliver shares that his father’s artistic journey began in childhood, marked by a sense of isolation due to his exceptional talent. As a twin born in Onitsha, he was considered different, which led him to create his own world through art. His father, a traditional sculptor, recognized his gift and encouraged him to pursue art. This path eventually led to his first exhibition in Lagos around 1943 and a scholarship to study at the Slade School of Fine Art in London. Prof. Enwonwu’s twin brother, Jacob, passed away at a young age, leaving a lasting impact on his family.
Throughout his 60-year career, Prof. Enwonwu produced an estimated 67,000 works across various media, including bronze, watercolor, and wood. Despite facing challenges such as racism and financial instability, he broke barriers by exhibiting in prestigious venues where few Black artists were welcomed. His role as Nigeria’s Federal Art and Culture Advisor provided him with financial stability, allowing him to focus on his art. He fought to establish a modern artistic identity for Nigeria, creating national monuments that reflected the aspirations of a newly independent nation.
Prof. Enwonwu maintained studios in both Ikoyi, Lagos, and London, balancing his roles as a professor at the University of Ife and a practicing artist. His educational background was modest; his father was a traditional sculptor, while his mother was a successful cloth merchant. Notable exhibitions of his work took place in London and Paris, with significant pieces like “Knowledge” at the Nigerian Institute of International Affairs and “Anyanwu” at the United Nations headquarters. His sculpture of the Queen, created during twelve sittings, remains a testament to his artistic legacy.
One of his most famous works, “Tutu,” recently resurfaced after being missing for years. This piece, which depicts Tutu Ademiluyi, a granddaughter of the Ooni of Ife, holds historical significance as it symbolizes healing for Nigeria following the civil war. Oliver emphasizes that art must carry political, historical, and social significance, and his father’s work exemplified this belief.
Prof. Enwonwu’s legacy continues through Oliver, who has adopted some of his father’s philosophies while also forging his own path as an artist. He acknowledges the influence of his father’s work but focuses on addressing contemporary issues within the art world. Oliver is actively involved in promoting other artists and preserving his father’s legacy through a foundation that offers scholarships and aims to publish his father’s writings and catalog his works.
As a son of a celebrated artist, Oliver faces both advantages and challenges in the art world. While his name carries recognition, it also comes with heightened expectations. He has chosen to view his work as a continuation of his father’s legacy rather than a competition. Oliver has established a gallery and publishing company, contributing to the promotion of Nigerian art in ways that his father did not.
Reflecting on his father’s passing, Oliver recalls the profound impact it had on him as a young man. He was present when his father died and has since dedicated himself to continuing his father’s artistic vision. Prof. Enwonwu’s funeral was a grand affair, honoring his contributions to art and culture. Despite his international acclaim, Oliver notes that his father did not receive the national honors he deserved in Nigeria, a sentiment that resonates with the family.
To keep his father’s memory alive, Oliver is committed to documenting their family’s artistic history and shaping society through art. He believes that artists today can learn from his father’s dedication to excellence and the relevance of their work in addressing societal issues.
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