Evidence abounds of the synergy that exists between literature and visual arts in Africa. Illustrations are known to have given more meaning to books, while the text plays the role of the storyteller, the illustration acts out the story or scene on the pages of the book. Illustrations also make readership very easy and appealing to children and the uneducated people in our local communities. In recent times however, studies have shown a sharp decline in the inclusion of very good, insightful and inspiring illustrations into African literary text. When included, it is often poor and limited to the cover page of the book. This paper examines the merits derivable from the inclusion of visual arts into African literature as well as the reason for its decline with a view to suggesting how it can be used to reinvent African literature. It is expected that by so doing, publishers and authors will see the need and importance of using more illustrations in their books. This will, in turn, generate more interest in the culture of reading among the youths o

In visual art, inspiration and concept are the driving forces in the execution of a particular art piece, be it in the Fine or industrial Art. Yorùbá traditional mural has been executed in most cases in veneration of the òrìsà and most of the products are for the Oba as well as for rich or influential individuals. Despite the painters' claim to have been 'moved' or inspired by the spiritual powers of the òrìsà in the execution of such murals, Oríkì, 'cognomen' has been discovered to be a very important driving force in these paintings. This paper tries to examine the importance and impact of oríkì in the execution and interpretation of selected Yorùbá traditional murals.

One of the functions art serves is to visually document history for generations to come. Even with the development of writing, the artists have continued to document various aspects of what they encounter in their various communities. In Nigeria with particular reference to painting, several artists have used their paintings as visual documentaries. The introduction of the camera as a tool for documenting did little to dissuade these painters from continuing this role. This paper therefore examined selected paintings of artists in Nigeria, whose works reveal historical evidences and culture of a people. Paintings cutting across the various genres such as portraits, landscapes scenes, architecture, festivals and cultural issues from pre-independence Nigeria to the present were selected for examination and analysis. The paper explores a descriptive and comparative analysis of the selected paintings vis-à-vis the various subjects they have recorded. It concludes that these paintings show significant historical evidences that can be used to reconstruct history and others aspects of the society where the need may arise. Painters in Nigeria more than other artists have been able to record history with their works because of the pictorial and compositional peculiarity o

The paper examined the state of the Yoruba old Palace Courtyards using Ilesa palace as a case study. It described the designs, construction of the old palaces courtyard and its function as a melting point of traditional Yoruba architecture. It opined that the palace courtyard design reinforces the Yoruba traditional dwellings and environment culture where the structure of the houses is built to support the people’s social and religious life. It argued that such structure gives the opportunity for a blend of function, decorative and religious elements all-in-one big space of which the courtyard is just an enclosure. The paper concluded by calling for the restoration and preservation of these edifices, noting that the architecture of a people best describes the artistic outward presentation of their belief system, sociology and creative life.

Among the artistic media related to painting, mosaic is one of the most specialized, technically demanding and also most involved in terms of materials. Its decorative qualities on large surfaces and durability make mosaic particularly suitable for monumental purposes. Basically, this essay takes a look at a particular mosaic artist-Elise Johnston, her contributions to the architectural beauty in modern Nigeria, techniques, inspiration and her works. It will also look at the importance and function of mosaic decoration, its necessity in the design, form and overall aesthetics of our built-up environment, as well as suggesting means by which traditional mural decoration could be preserved by using mosaics. During the Byzantine Era, the art of mosaic reached its highest level of quality. Artists decorated floors, walls, vaults and facades of temples and palaces. They used pieces of marble, natural stones, coloured glass, even gold and silver. Themes were inspired by ancient myths, decorative elements from sea and earth, scenes of hunting, faces, emperors, and most of all themes inspired by the Christian religion that was dominant during this period. The usage of mosaic in modern Nigerian architecture is not very new, more so in global village such as we live today, where buildings are much similar in design between Lagos, Paris and Moscow. The use of materials is also very similar except in cases where weather conditions are considered. One of the factors that would definitely make a difference between buildings in Lagos and London will be the mosaic decorations richly embedded with traditional forms and motifs.

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Akinọlá Lasekan (1916-1972) is regarded as one of the pioneers of Nigerian modernism, and an art educator. His artistic career have been discussed alongside other artists such as Aina Onabolu, Akeredolu, Ben Enwowu and others. Particularly his practice as Nigeria's first political cartoonist with the West African Pilot—a newspaper established by Dr. Nnamdi Azikiwe and a principal weapon in the fight for African emancipation. His artistic contributions as a teacher at University of Nigeria (UNN) from 1961-1966, and University of Ife (Unife) from 1967-1972 has however received little mention. Four paintings in the collection of the Obafemi Awólọ́wọ̀ University Ile-Ife created during this period has also received little or no mention, which leaves a gap in art historical discourse and the relevance of these paintings to the history of the university and the old western region of Nigeria. This chapter therefore propose an analysis of these four paintings and the historical trajectory they present as visual elements. It will to focus on Akinọlás Lasekans sojourn as a university teacher at the University of Ife, and his role as a foundation member of the Ife Art School.

Art is known to be an agent of value and aesthetic in the built environment wherever such forms of art are employed, especially in societies where they are appreciated and enjoyed. Murals as a form of public art particularly have taken up a form by creating a symbiotic relationship with the spaces and walls within cities, towns and private homes. The lack of appreciation of this art form in the Nigerian environment and its non-inclusiveness in the past has devoid this art of its value. The paper discusses the recent murals in Ile-Ife especially on the walls of Obáfémi Awólówò University campus with a view to determining their social and environmental relevance in the built up spaces. It adopts structured interview to collect data from users of public spaces. The study population comprised of students, staff and other public space users in the study area. A descriptive approach was used in analyzing the murals based on form and subject matter as it relates to the public space. Findings revealed that public space users are receptive to the new murals and view them as a positive development. Results also showed that more spaces should be made available for use of posters as well as for art. The study concluded that the recent murals have added more value and aesthetic appeal to the spaces in which they are painted, thereby receiving positive responses from users of public spaces. It suggested that a policy should be enacted to incorporate creation of art as part of the budget in the design and construction of public spaces.