Age, Biography and Wiki

Bernard Matemera was born on 14 January, 1946 in Guruve, Zimbabwe, is a Zimbabwean sculptor. Discover Bernard Matemera's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 56 years old?

Popular As Bernard Matemera
Occupation N/A
Age 56 years old
Zodiac Sign Capricorn
Born 14 January, 1946
Birthday 14 January
Birthplace Guruve, Zimbabwe
Date of death 2002
Died Place N/A
Nationality Zimbabwe

We recommend you to check the complete list of Famous People born on 14 January. He is a member of famous sculptor with the age 56 years old group.

Bernard Matemera Height, Weight & Measurements

At 56 years old, Bernard Matemera height not available right now. We will update Bernard Matemera's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
Hair Color Not Available

Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

Family
Parents Not Available
Wife Not Available
Sibling Not Available
Children Not Available

Bernard Matemera Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Bernard Matemera worth at the age of 56 years old? Bernard Matemera’s income source is mostly from being a successful sculptor. He is from Zimbabwe. We have estimated Bernard Matemera's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income sculptor

Bernard Matemera Social Network

Instagram
Linkedin
Twitter
Facebook
Wikipedia
Imdb

Timeline

1946

Bernard Matemera (14 January 1946 – 4 March 2002) was a Zimbabwean sculptor.

The sculptural movement of which he was part is usually referred to as "Shona sculpture" (see Shona art), although some of its recognised members are not ethnically Shona.

His whole professional career was spent at the Tengenenge Sculpture Community, 150 km north of Harare near Guruve.

Matemera was the son of a village headman, living near the town of Guruve, Mashonaland in the far north of what was, in 1946, Southern Rhodesia.

He spoke Zezuru, one of the Shona dialects, and had four years of formal primary schooling: like other boys, he herded cattle, made clay pots and carved wood.

1963

In 1963 Matemera was working as a contract tractor driver for tobacco farmers in Tengenenge and met Tom Blomefield, whose farm had extensive deposits of serpentine stone suitable for carving.

1965

This was in part because at that time there were international sanctions against Rhodesia's white government led by Ian Smith, who had declared Unilateral Declaration of Independence in 1965, and tobacco was no longer able to generate sufficient income.

Matemara was one of the first artists to take up sculpting full-time, joining others including Henry Munyaradzi, Josia Manzi, Fanizani Akuda, Sylvester Mubayi and Leman Moses, who formed part of what is now called the First Generation of Zimbabwean sculptors in hard stones.

Works by Matemera and his colleagues were exhibited in the Rhodes National Gallery whose founding director, Frank McEwen, was very influential in bringing them to the attention of the international art community.

1966

By 1966, Blomefield wanted to diversify the use of his land and welcomed new sculptors onto it to form a community of working artists.

1967

Matemera first contributed to the Annual Exhibitions in the Gallery in 1967 and 1968: in 1969 McEwen took a group of works, mainly from Tengenenge, to the Museum of Modern Art in New York and elsewhere in the US, to critical acclaim.

Matemera had two wives, with whom he had eight children, and he stayed at Tengenenge throughout the war for Zimbabwean Independence at a time when many other artists abandoned their way of life.

1980

He became the symbolic leader of the community and from the 1980s gained worldwide recognition, with works included in exhibitions in the US, UK, Germany, The Netherlands and elsewhere.

Matemera's sculptures are in the permanent collections of the National Gallery of Zimbabwe, the Chapungu Sculpture Park, the Museum fur Völkerkunde, Frankfurt and many others.

1982

Many of Matemera's exhibition pieces, such as Great Spirit Woman (Serpentine, 1982), have toured worldwide; for example to the Yorkshire Sculpture Park in 1990, which depicts it on the front cover of the exhibition's catalogue.

1987

In 1987, Matemera was invited to Yugoslavia to make a large sculpture at the "Josip Broz Tito" Art Gallery of the Nonaligned Countries in Titograd.

Celia Winter-Irving chose Matemera's work "Man turning into hippo" to illustrate the front cover of the paperback version of her classic book on Zimbabwean sculpture.

2000

The catalogue "Chapungu: Culture and Legend – A Culture in Stone" for the exhibition at Kew Gardens in 2000 has pictures of this and four other of Matemera's sculptures: Chapungu (Serpentine) on p. 2, The Man who Ate his Totem (Springstone, 1998) on p. 42-43, Young Bull (Springstone, 1992) on p. 54-55, Metamorphosis (Springstone, 1995) on p. 94-95 and "Earth Spirit" (Serpentine, 1988) on p. 96-97.

Several of these have characteristic rounded body-shapes and only two or three fingers or toes on each hand or foot.

As explained by Olivier Sultan, "Matemera finds his inspiration in his dreams. He was haunted by 3-fingered beings, a residual myth or memory, of a tribe that live in the northern part of the country. His massive pieces have a bewitching character, halfway between the comic and the tragic."

Matemera sculpted mainly in grey or black serpentine, finishing his work to a uniform polished surface.

His subjects were animals, people or fantasy spirit creatures.

None were rendered in a true-to-life way: he preferred to show exaggerated curves of breast, buttock or belly-button to reveal the relationship between humans, animals and the spirit world.

As Celia Winter-Irving commented in her biography of Matemera:

"Matemera deals in pleasures of the flesh. To him sexuality means a healthy appetite, to be nourished with opportunity and spiced with variety. His sculptures speak in a highly suggestive body language. He is the creator of sculpture in the raw — huge naked figures with breasts, buttocks and bulges, charged with sexual energy and all at odds with their massive proportion and bulk.... There is in these sculptures an unspent power and a reserve of energy."

2002

Bernard Matemera died in March 2002.