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A Modern Ethiopian Artwork in Contemporary Greece

Maria-Mirka Palioura

In 2003, the National and Kapodistrian University of Athens received a significant donation from Aikaterini Exarchou-Gensonnet (1921-2005), an expatriate from Ethiopia. The collection included antiquities, jewelry and church paraphernalia from Ethiopia, alongside a small but notable collection of twenty paintings by Ethiopian artists. These paintings –tempera on parchment and processed textile– are probably dated to the second half of the 20th century. The artworks were incorporated into the Modern and Contemporary Art Collection of the University Museum and showcased in a 2005 exhibition at the Kostis Palamas University building in central Athens. The exhibition, titled “Ethiopian Folk Art: Painting – Handicraft, Donation of Aikaterini Exarchou” was curated by the late Art History professor, Nikos Zias (1939-2020), who also edited the accompanying Greek language catalogue (Λαϊκή Αιθιοπική Τέχνη: Ζωγραφική, 2005).

The collection’s artworks depict themes related to Christian faith and worship, historical memory and everyday life. Among these is a notable piece by Qengeta Jembere Hailu (Andabiet, 1913-Addis Ababa 1994), which portrays the First Italo-Ethiopian War of 1896, specifically Τhe Battle of Adwa (March 1, 1896) (Jonas, 2011) (Fig. 1). This decisive victory secured Ethiopia’s independence for several decades, lasting until 1935, when the second Italo-Ethiopian war began. The Battle of Adwa remains a significant historical reference point in the broader context of anti-colonial resistance, not only in Ethiopia but across Africa (The Adwa Victory Memorial, Addis Ababa, Ethiopia).

Qangeta Jembere Hailu, The Battle of Adwa

Fig. 1. Qangeta Jembere Hailu, The Battle of Adwa, 2nd half of 20th c., tempera on cloth, 76Χ129 cm. (National and Kapodistrian University of Athens, University Museum, Modern and Contemporary Art Collection)

In this context, Hailu’s work is of particular interest due to its multi-layered narratives. It reflects an event from the history of Ethiopia while also engaging with its reception within collective memory. At the same time, as an artwork that was sold and transported beyond Africa, ending up in the museum of an educational institution in a European country which does not have a colonial past, it embodies the complexities of cultural circulation. Its inclusion in the museum’s collections marks a new chapter in its biography – where official history and individual stories intersect – creating a canvas of fragmented memories, connotations and fluid interpretations.

Qangeta Jembere Hailu, a priest and renowned painter of traditional art, trained under his uncle, who specialized in religious themes subjects for Ethiopian temples. Hailu adhered to the so-called “traditional” style of Ethiopian painting, characterized by religious iconography and historical narratives. His life was marked by resistance; he fought in the second Italo-Ethiopian war (1935-1936) and later during the Italian occupation (1936-1941). After settling in Addis Ababa in 1948, He took up the paintbrush and resumed his artistic practice sustaining himself through his artwork until his death in 1994. His career, however, was notably affected by the political shift in 1974 with the rise of the Derg junta. The regime’s establishment curtailed the interest of foreign tourists, who were looking for something local and exotic (Silverman and Fisseha 1999, 156-179). Through his depiction of The battle of Antowa, according to the contemporary pictorial language in Ethiopia, very different from the European naturalistic perception, Hailu contributed to the glorification of Ethiopia’s victorious past, particularly the reign of Emperor Menelik II (Atse Menilik) (r. 1889 -1913) (Fig. 2).

The Battle of Antowa: The Last Rally of General Dabormida,

Fig. 2. The Battle of Antowa: The Last Rally of General Dabormida, The Graphic, 11 April 1896 (Wikimedia Commons)

The abundance of pictorial parallel representations of the battle of Adwa testifies to the existence of a visual template established in the late 19th century. This template not only shaped artistic conventions but also resonated strongly with the buying public—a trend that persists to this day. The recurrence of almost identically painted renderings of the battle constitutes an intriguing subject for further scholarly investigation, offering insights into the dynamics of visual tradition, collective memory, and the commodification of historical narratives (Fig. 3 and 4).

Unknown, The Battle of Adwa, first half of 20th c.

Fig. 3. Unknown, The Battle of Adwa, first half of 20th c. (National Museum of African Art, Smithsonian Institution, Washington, D. C.)

Marcos Jembere (Qangeta Jembere’s son), Battle of Adwa

Fig. 4. Marcos Jembere (Qangeta Jembere’s son), Battle of Adwa, 1993, 293,91 by 150 cm (Michigan State University Museum)

Several versions of the subject preserved in different museums are available online: The Battle of Adwa, 1896 (Horniman Museum and Gardens, UK); three versions of The Battle of Adwa, first half of 20th c., Smithsonian Institution, National Museum of African Art; The Battle of Adwa, 1940-1949 (The British Museum)  ; The Battle of Adwa, 1975, by Shibru Nuru (Library of Congress, African and Middle Eastern Division, Ethiopian Collection) ; The Battle of Adwa, (Wereldmuseum, Amsterdam).

The Battle of Adwa is part of the secular themes that, as early as the 19th century, appeared in ecclesiastical murals depicting battles and portraits of local lords (Biasio 2009, 14-25). The composition is structured vertically and in overlapping zones, forming two distinct solid parts where the opposing camps are aligned with their respective flags symbolizing national identity. The Ethiopian tricolor flag, depicted twice, presents a visual anachronism as it was officially established by Emperor Menelik II in October 1897, a year after the battle.

Historical elements are evident in the composition (Fig. 1), such as the numerical superiority of the Ethiopian army with the suggestive presence of countless heads, and the obvious organized military formation of the Italian army behind low fortifications. The figures of Emperor Menelik II, his court dignitaries and the Ethiopian church, Empress Taitu, and Commander-in-chief Tafari (second zone left) embody the intersection of secular and religious authority in the struggle. The central placement of the onrushing Ethiopians in the center –amongst them the prominent hero general (Fitaurari) Gebeyehu– defines the battlefield and reinforces the heroic element. The depiction of fallen dead Ethiopians at the lower zone reinforces the connotations of heroic sacrifice for the country’s independence. Saint George, Ethiopia’s patron saint, is illustrated in the upper central part, haloed with the colors of the Ethiopian flag, symbolically assisting the Ethiopians by menacingly brandishing his spear toward the Italian army.

The austere design, absence of perspective, flatness, isocephaly, vivid colors, honesty, and balanced composition reflect the iconographic tradition of Ethiopia as well as of Coptic art. The intense narrativity is further enriched by explanatory inscriptions in the official Amharic script. The top left identifies the painter and his origin (Kegn Geta Jenbere Hailu from Gondar), the flags of the two enemies (Ethiopia, Italy) and Saint George. Below, an inscription records the defeat of the Italians (The Battle of Adwa, the victory of the Ethiopian army and the defeat of the Italian army). Notably, Ethiopian protagonists of the battle are distinctly highlighted, while the Italian side is noted once (left, among the Italian soldiers). Emperor Menelik (Atse Menilik) is depicted with a crown of feathers (top left), and Chief general (Fitaurari) Gebeyehu, dressed in green costume and wielding a bloody sword, is discernible at top center of the painting.

The Battle of Adwa aligns with the 20th-century Ethiopian artistic production, conventionally categorized as “traditional” art. Alternatively, it may be considered “non-Western art” (Davies 2000, 199-216), a term that better encapsulates works produced post-1930s for foreign markets. Stanislaw Chojnacki labeled such art as “degenerate” (Silverman and Fisseha 1999, 158) considering that “modernization” or “Europeanization” severed its ties with Ethiopian Christian painting traditions. This perspective reflects Western biases regarding “authenticity”, often overlooking the evolving dynamics of this artistic language.

Hailu’s painting related to traditional forms, categorized as “antika” or “airport art”, addresses the need to construct a “great tradition of a powerful state”; appealing to foreign visitors of the country seeking “authentic” Ethiopian artifacts (Rubinkowska-Anioł 2017, 114). The acquisition of The Battle of Adwa, by Aikaterini Exarchou, fits into this context. The painting idealizes historical and cultural values, expressing an objective truth through iconography.

Upon transfer to Greece and donation to the Museum of the National and Kapodistrian University of Athens, the painting assumed a new semantic context. Approximately twenty years earlier, in the first exhibition held in 2005, the museum engaged with the Ethiopian community in Athens. Today, within the context of this collection’s imminent re-exhibition, the museum is facing the challenge of adopting new policies distinguishing this collection of paintings from Ethiopian antiquities, amassed through colonial-type practices. Amidst global discourse on decolonizing academic collections, the University Museum has an opportunity to reassess its approach, considering the historical Greek presence in Ethiopia.

The value of The Battle of Adwa extends beyond aesthetics to encompass Ethiopia’s collective memory. It also testifies to the personal aesthetic of A. Exarchou, who was an artist herself and acquired the painting, during her long stay in the country with her husband –an engineer– in the 1960s. The painting, a memorabilia of her life, holds multifaceted significance. Detailed documentation of this work and the rest of the paintings acquired by Exarchou ensures their proper future exhibition (Sfyroera 2013, 92) aligned with her intent to share her collection with the public, especially students and pupils. In Spring 2024, the University Museum took a preliminary step by exhibiting works from the collection alternately at the entrance of the library building of the Faculty of Philosophy (Fig. 5).

Qangeta Jembere Hailu, The Fest [in Gondar]

Fig. 5. Qangeta Jembere Hailu, The Fest [in Gondar], 2nd half of 20th c., tempera on cloth, 77 by 108 cm (National and Kapodistrian University of Athens, University Museum, Modern and Contemporary Art Collection)

In addition, the museum can explore and incorporate connections between the Ethiopian community in Greece with their national past and culture. In this framework, The Battle of Adwa can serve as an idiosyncratic site of collective memory (lieu de mémoire), for Ethiopian immigrants in Greece, a cultural artifact fostering collective identity across generations. At the same time, the painting bridges past and present and future, by engaging with long-lasting issues regarding European perceptions of diverse historical and cultural experiences.

Many thanks to Assera Debele, the director of the Ethiopian Socio-Cultural Center “Aithiops” based in Athens, for his valuable assistance in translation, as well as to Prof. P. Petrides and Dr. M. Leontari.

References

Elisabeth Biasio, “Contemporary Ethiopian Painting in Traditional Style. From Church based to Tourist Art”, African Arts 42, no. 1, Spring 2009, p. 14-25.

Stephen Davies, “Non-Western Art and Art’s Definition” in Noël Carroll (ed.), Theories of Art Today, Madison: University of Wisconsin Press, 2000, p. 199-216.

Raymond Jonas, The Battle of Adwa, African Victory in the Age of Empire, Harvard University Press, Belknap Press, 2011.

Λαϊκή Αιθιοπική Τέχνη: Ζωγραφική – Χειροτεχνία. Δωρεά Αικατερίνης Εξάρχου [Ethiopian Folk Art: PaintingHandicraft, Aikaterini Exarchou Donation], Exhibition Catalogue, Athens: National and Kapodistrian University of Athens, 2005.

Alexandra S. Sfyroera, “Aikaterina Exarchou-Gensonnet and the Museum of Archaeology and History of Art. The chronicle of a ‘reciprocal relationship’ through the pages of her personal archive, Volume of Abstracts (Greek – English), Νinth Scientific Symposium, Excavation and research, IX: From the Research Work of the Archaeology Department and Art History, National and Kapodistrian University of Athens, 2013.

Raymond A. Silverman and Girma Fisseha, “Jembere and his son Marcos, Traditional Painting at the End of Twentieth Century” in Raymond A. Silverman (ed.), Ethiopia, Traditions of Creativity, East Lansing: Michigan State University Museum/Seattle: University of Washington Press, 1999, p. 156-181.

Hanna Rubinkowska-Anioł, “Antika – Ethiopian Airport Art as a Construction of Tradition”, in A. Pawłowska, A. Drozdowski and A. Kuczyńska (eds), The Artistic Traditions of Non-European Cultures, University of Warsaw, Polish Institute of World Art Studies, Vol. 5, 2017, p. 113-128.