Ben Enwonwu: Nigerian Art Pioneer Behind the “African Mona Lisa”
Renowned Nigerian Igbo artist Ben Enwonwu (1917–1994) pioneered modern African art by blending indigenous traditions with Western techniques. From sculpting Queen Elizabeth II to painting the famed “Tutu” that broke auction records, Enwonwu’s legacy endures in today’s African art market and contemporary art scene.
Table of Contents
Early Life
Ben Enwonwu was born Odinigwe Benedict Chukwukadibia Enwonwu on July 14, 1917, in Onitsha in eastern Nigeria. He was of the Igbo ethnic group, inheriting a rich artistic heritage from a young age.
Enwonwu’s father, Omenka Odigwe Emeka Enwonwu, was a technician with the Royal Niger Company and also a reputable traditional Igbo sculptor who carved ritual figures and decorative art.
Under his father’s tutelage, the young Ben learned to carve wood in the indigenous style, absorbing native traditions of Igbo art from childhood.
After his father’s death in 1921, Enwonwu continued practicing carving with the inherited tools, demonstrating precocious talent even at a young age. His mother, Iyom Chinyelugo Nweze, was a successful cloth merchant who instilled in him an entrepreneurial spirit.
This blend of cultural grounding and family support set the foundation for Enwonwu’s pioneering career in art.
Education and Artistic Training
Enwonwu’s formal art education began at top schools in colonial Nigeria. He attended Government College Ibadan and then Government College, Umuahia, completing his secondary education in 1937.
At Umuahia he studied Fine Art under Kenneth C. Murray, a British art teacher who was then serving as art education officer in Nigeria.
Under Murray’s mentorship, Enwonwu blossomed into a star pupil, gaining technical proficiency and developing his own artistic idiom. In fact, he became Murray’s assistant and was recognized as one of the most gifted students among the so-called “Murray Group” of young Nigerian artists. This early exposure to structured art training was rare at the time and helped Enwonwu bridge Western art world techniques with African aesthetics.
In 1944, Ben Enwonwu earned a coveted Shell Petroleum scholarship (with British Council support) to pursue advanced studies abroad. He enrolled at the prestigious Slade School of Fine Art at University College London, where he studied Fine Art and received a first-class diploma in sculpture in 1947. This achievement made him among the first African artists to graduate with such distinction from a major British art institution.
He further studied at the Ruskin School, Oxford University, focusing on anthropology and West African ethnography, before completing his studies in 1948. Enwonwu later received an honorary doctorate degree from Ahmadu Bello University, Zaria, in 1969, reflecting his academic and intellectual attainment in the arts.
Early Career and First Achievements
After his studies, Enwonwu quickly embarked on an influential career. Upon returning to Nigeria in the late 1930s (before his UK training), he had already begun teaching art. He served as an art teacher at his alma mater, Government College Umuahia, and later at other schools such as a mission school in Calabar and Edo College in Benin City.
In 1948, the colonial government appointed Enwonwu as Nigeria’s first federal Art Adviser (art consultant) – a role in which he advised the Nigerian government on cultural matters.
This made Enwonwu a cultural bridge between Nigeria and the British Empire, as he worked to ensure African art was represented with dignity.
By the 1950s, Ben Enwonwu was gaining international acclaim as a freelance artist.
He toured and lectured in Europe and the United States, showcasing modern African art in prominent cities like London, New York, and Washington, D.C.
During these travels, he executed numerous commissions, developing a reputation in the Western world for his unique fusion of African themes with modern techniques.
Notably, Enwonwu maintained a studio in London and was active in British art circles – he became a member of the Royal Society of British Artists (RBA), an uncommon honor for an African artist at the time.
Enwonwu’s rising profile led to a historic commission in 1956, when he was chosen to create a portrait sculpture of Queen Elizabeth II during her state visit to Nigeria.
This project made him the first African artist to be officially commissioned to sculpt a British monarch.
The sittings took place at Buckingham Palace, and the finished sculpture – a life-size bronze statue of the Queen – was unveiled in London in 1957, where it was exhibited at the Tate Gallery.
The fact that an African artist was entrusted with commemorating the British monarch was groundbreaking and symbolized a shift in how the Western art world recognized African talent.
Enwonwu was subsequently appointed an MBE (Member of the Order of the British Empire) in 1958 for his contributions to art, becoming the first Nigerian artist to receive that honor.
Major Works and Artistic Style
Over a pioneering career spanning five decades, Ben Enwonwu produced a vast body of work across painting and sculpture. He developed a distinctive artistic idiom that merged modern Western art techniques with African subjects and forms, effectively celebrating Africa through his art. Many of his paintings feature elegant, elongated figures engaged in dance or ritual, reflecting themes of cultural identity.
His involvement with the pan-African Negritude movement influenced these works – he often portrayed the beauty of black identity in silhouette and motion. According to Enwonwu in 1968, “the African philosophy of Negritude has defined the kind of knowledge that characterized the African spirit and mind,” underscoring how his art was a passionate assertion of African pride
One of Enwonwu’s most famous sculptures is “Anyanwu” (Igbo for “Eye of the Sun” or “Sunshine”), created in 1954–55.
This tall bronze sculpture depicting the Igbo earth goddess Ani was commissioned for the Nigerian National Museum in Lagos.
Anyanwu is widely regarded as Enwonwu’s masterpiece and a symbol of Nigeria’s independence and cultural heritage.
A full-size cast of Anyanwu was later presented to the United Nations and is displayed at the UN Headquarters in New York – a testament to Enwonwu’s international stature.
The flowing, ascending form of the figure in Anyanwu became emblematic of modern Nigerian art, embodying both traditional spirituality and contemporary expression
Enwonwu also created sculptures drawing on other African cultures. For example, his piece “Sango” (1964) portrays the Yoruba god of lightning and thunder, demonstrating Enwonwu’s interest in pan-Nigerian themes beyond his own Igbo roots. In painting, he often explored dance and movement.
Works like “Africa Dances” and “The Dance” series capture dynamic motion using elongated forms – celebrating the vitality of African dance and music. This unique style of portraying figures in motion became Enwonwu’s own artistic idiom, earning him critical acclaim.
Perhaps the most celebrated of Enwonwu’s paintings is “Tutu” (1973) – a portrait of Princess Adetutu Ademiluyi of Ife.
This oil painting of a Nigerian princess in profile, draped in regal attire, has taken on legendary status.
Tutu was nicknamed “Africa’s Mona Lisa” for its iconic beauty and the aura of mystery surrounding it.
The artist painted three versions of Tutu, but all were thought lost for decades after the Nigerian Civil War. In 2017, one original Tutu painting was sensationally rediscovered in a London apartment.
Its auction the following year created an international media frenzy – the work sold for £1,205,000 (approximately $1.6 million) at Bonhams in London, setting a record for Nigerian art.
Beyond its market value, Tutu has deep cultural significance: painted just a few years after the Biafran War, the portrait came to be seen as a symbol of reconciliation between Nigeria’s government and the Igbo people, who had fought for Biafran secession. The widespread coverage of Tutu’s return cemented Enwonwu’s status as a national icon.
Other notable works by Enwonwu include “Ogolo” (a masquerade-inspired painting), “Negritude” (a series highlighting African identity), and “Risen Christ” (1986), a sculpture which unfortunately was destroyed in a fire at the University of Ibadan amid political-religious tensions in the 1990s.
He also produced portraits of prominent individuals, such as a painting of Nigerian businessman Candido Da Rocha and illustrations for literary works (he famously illustrated Amos Tutuola’s novel The Brave African Huntress in 1958). Throughout his oeuvre, Enwonwu celebrated Africa – infusing traditional motifs, whether Igbo, Yoruba or others, into the modern art canon.
Market Value and Auction Records
In recent years, the market value of Ben Enwonwu’s art has skyrocketed, reaffirming his place among Africa’s greatest artists. Collectors worldwide avidly seek out his paintings and sculptures, driving prices to record highs in the art market.
The best example is Tutu, whose sale in 2018 for over $1.6 million set a new benchmark for modern African art.
This auction result made headlines in international media, as Tutu was not only an artistic treasure but also a record-breaking asset in the African art market.
It answered the question of “What is the most expensive Ben Enwonwu painting?” – at least for now – with Tutu claiming that title.
Not far behind Tutu is another Enwonwu portrait, “Christine” (1967). In 2019, Christine sold at auction for $1.4 million, underscoring that multiple works by Enwonwu now command seven-figure prices.
Many of Enwonwu’s other artworks have appreciated greatly in value; even his lesser-known paintings routinely fetch tens to hundreds of thousands of dollars at auction.
For instance, sculptures like smaller editions of Anyanwu or paintings from his Africa Dances series have become highly sought-after as collectors recognize Enwonwu’s seminal role in African modernism.
The surge in Enwonwu’s market value reflects a broader trend in which African art is increasingly in demand. African modern art, once undervalued in the global art market, is now seen as a compelling investment – and Enwonwu’s pieces often lead the charge. Major auction houses regularly feature Enwonwu in their sales of Modern African Art, and dedicated African art auctions have flourished.
Art market observers point out that Enwonwu’s name adds prestige; owning a Ben Enwonwu has become a status symbol for collectors interested in African masterpieces. As a result, galleries and auctioneers closely monitor Enwonwu’s auction records, and each high-profile sale tends to set a new precedent for what a contemporary African art piece can achieve on the global stage.
For collectors, the question “How much is a Ben Enwonwu painting worth?” now yields impressive answers. Depending on the piece, smaller paintings and sketches can range from a few thousand dollars, while marquee works like Tutu are valued in the millions.
The growing recognition of Enwonwu’s importance – as the first African artist to gain such international renown – has turned his oeuvre into blue-chip assets in the art world. Indeed, investing in Enwonwu’s art has proven rewarding, with values climbing as more museums and private collections vie to acquire his historically significant works.
Cultural Impact
Beyond prices and prestige, Ben Enwonwu’s impact on culture and society is profound. During the 1940s and 1950s, Enwonwu became involved in intellectual movements that asserted African identity and independence. He was an active participant in the Negritude movement, which was an anti-colonial cultural and political movement celebrating black heritage.
Despite his close ties to the Western world, Ben Enwonwu supported the Negritude movement, an anti-colonial cultural movement founded by a group of African and Caribbean students in Paris in the 1930s.
He used his art and voice to promote the idea that African art forms are equal to those of Europe, and he famously delivered a passionate speech at a 1956 international conference of black writers and artists in Paris, urging that African artists must not accept an inferior position in the global art scene.
This stance resonated with Black nationalist movements of the era and positioned Enwonwu as not just an artist but a cultural advocate.
Enwonwu’s works often carried messages of pride and unity. For example, Tutu became a symbol of healing after the Nigerian Civil War, as it portrays a Yoruba princess painted by an Igbo artist – a powerful statement of Nigeria’s cultural reconciliation.
Enwonwu also served as a cultural advisor to the Nigerian government in the 1960s, helping shape national policies on art and culture during the post-colonial nation-building period.
In 1977, he was an art consultant to the international secretariat of FESTAC ’77 (the Second World Black and African Festival of Arts and Culture) in Lagos, influencing one of the largest celebrations of African diasporic culture.
Through such roles, Enwonwu actively worked to integrate African art into national identity and global consciousness.
On the international stage, Enwonwu’s contributions were recognized as representing Africa to the world.
When Nigeria’s President presented a small bronze casting of Enwonwu’s Anyanwu to Queen Elizabeth II in 1981, it was a symbolic gift underscoring the value of African art at the highest diplomatic levels
In 2009, NASA honored Enwonwu by naming a crater on the planet Mercury after him – the Enwonwu crater – acknowledging him among other great artists of history.
This extraordinary honor (a rare distinction for an African artist) literally inscribed Enwonwu’s legacy onto the cosmos, highlighting how his influence transcended continents and even planets.
Legacy in Contemporary African Art
Ben Enwonwu’s legacy is foundational to contemporary African art. As Nigeria’s foremost modern art trailblazer, he inspired generations of artists across Africa. In 1971, Enwonwu became the first African professor of art when he was appointed Chair of Fine Arts at the University of Ife (now Obafemi Awolowo University).
In this role, he directly mentored young Nigerian artists, bridging the gap between academic art training and indigenous art. Many of today’s celebrated Nigerian artists view Enwonwu as a father figure of Nigerian modern art (indeed, he is often informally called the father of Nigerian modern art).
His success in the Western art world — being exhibited in august exhibition spaces like the Tate — paved the way for later African artists to gain international visibility.
Today, visitors can view Enwonwu’s art in museums and galleries around the world. In Nigeria, the National Museum in Lagos proudly displays Anyanwu at its entrance, and the National Gallery of Modern Art holds several of his works.
Internationally, institutions such as the National Gallery of Art in Washington, DC, have Enwonwu’s paintings (for example, his 1945 painting “Boy” is in the NGA collection). Art enthusiasts can also explore his work online via the Virtual Museum of Modern Nigerian Art.
The enduring presence of Enwonwu’s art in such august exhibition spaces and public collections attests to his lasting legacy. Contemporary African art fairs and exhibitions often cite Enwonwu as an inspiration, and modern African artists continue to reference his synthesis of tradition and modernity in their own creations.
In essence, Enwonwu not only opened doors for African art in the mid-20th century but also left them open for future generations to walk through.
Ben Enwonwu passed away on February 5, 1994, at the age of 76, but his influence has only grown in the decades since.
He received numerous honors in his lifetime – including Nigeria’s National Order of Merit in 1980 for contributions to art – yet perhaps his greatest legacy is the new generation of African artists and art collectors he inspired.
As African art continues to gain global prominence, Enwonwu’s pioneering role is increasingly appreciated.
He stands as a symbol of artistic excellence and cultural pride, truly ranking among Africa’s greatest artists of the 20th century.
Frequently Asked Questions
How much is a Ben Enwonwu painting worth?
Ben Enwonwu’s paintings can be worth anywhere from a few thousand dollars to well over a million dollars, depending on the piece. Lesser-known works or smaller pieces might sell in the five to low six figures (USD), whereas his most celebrated works have fetched seven figures at auction. For example, Enwonwu’s rediscovered painting Tutu sold for about $1.6 million in 2018, and another work, Christine, sold for $1.4 million in 2019. These record prices reflect the strong demand for Enwonwu’s art in today’s market. If you own an artwork by Enwonwu, its exact value would depend on factors like the piece’s authenticity, provenance (ownership history), subject matter, and condition. It’s often best to consult with an art appraiser or auction house to get a professional valuation. Given the booming interest in modern African art, collectors see Enwonwu’s works as highly valuable assets, and his market trajectory has been on the rise.
What was Ben Enwonwu known for?
Ben Enwonwu was known for being one of Africa’s pioneering modern artists, blending traditional African themes with Western art techniques. He is often celebrated as the first African artist to gain widespread international acclaim in the 20th century. Enwonwu’s signature style included sculptures and paintings of elongated, graceful figures that embodied African dance, mythology, and cultural pride. Major highlights of his career include his sculpture of Queen Elizabeth II (making him the first African to sculpt a British monarch) and his iconic painting Tutu, dubbed the “African Mona Lisa.” He was also known for his role in the Negritude movement, using art to affirm African identity and self-determination. Additionally, Enwonwu served as Nigeria’s first professor of art and as a government art advisor, so he was a cultural ambassador who shaped policy and mentored young artists. In summary, Ben Enwonwu is known for his groundbreaking contributions to African art, his record-setting artworks, and his status as a national icon in Nigeria.
Was Ben Enwonwu Igbo?
Yes, Ben Enwonwu was Igbo. He was born into the Igbo people of Eastern Nigeria (specifically in Onitsha, which is in today’s Anambra State). His heritage had a profound influence on his art. Enwonwu learned traditional Igbo carving from his father, who was an Igbo sculptor and a member of the Onitsha royal lineage. Throughout Enwonwu’s work, one can see reflections of Igbo culture and lore – for instance, his masterpiece sculpture Anyanwu draws on Igbo mythology of the earth goddess Ani. While Enwonwu’s art embraced themes from across Nigeria and Africa (he also depicted Yoruba and other cultures), his Igbo background remained a core part of his identity. During the Nigerian Civil War era, Enwonwu’s stature as a prominent Igbo artist who still had the nation’s respect made him a symbol of unity. The fact that Tutu (his painting of a Yoruba princess) became a reconciliation icon is partly because an Igbo artist painted it, bridging ethnic divides. Enwonwu was proud of his Igbo heritage and frequently drew from it, even as he engaged with broader African and Western art influences.
What is the most expensive Ben Enwonwu painting?
As of now, the most expensive Ben Enwonwu painting sold at auction is “Tutu.” One of the long-lost Tutu portraits was found and auctioned in February 2018 for £1,205,000 (approximately $1.6 million), setting a record for Nigerian art. This stunning result earned Tutu the nickname “African Mona Lisa” in headlines, underscoring its importance.
Tutu’s high price is attributed to its rarity, beauty, and cultural significance. The sale was a milestone that brought global attention to Enwonwu’s work and to African art in general. Another contender is Enwonwu’s painting Christine, which sold for $1.4 million in 2019 – slightly less than Tutu. It’s worth noting that art records can change if even more significant works come to market. Should another version of Tutu be found or a major Enwonwu sculpture be sold, the record could be surpassed.
However, Tutu remains the best-known and priciest Enwonwu piece sold publicly to date. For context, these prices, while high for African art, are still modest compared to the global art market’s top sales (where masterpieces by Western artists sell for tens of millions). Many see Enwonwu’s record as a sign that African art values will continue to climb as the market catches up to the historical importance of artists like him.
Who is the most famous Nigerian painter?
Ben Enwonwu is frequently cited as one of the most famous Nigerian painters, often at the very top of the list. He was a true trailblazer, achieving international fame in an era when few African artists were recognized globally. Enwonwu’s name has become synonymous with Nigerian modern art, thanks to his high-profile works like Anyanwu and Tutu, as well as his role as an official portraitist of Queen Elizabeth II. That said, Nigeria has produced many renowned artists, and “most famous” can depend on context. For instance, Bruce Onobrakpeya (a printmaker and painter), Yusuf Grillo, Uche Okeke, and Twin Seven-Seven are also celebrated Nigerian artists, each famous in their own right.
In contemporary times, artists like Njideka Akunyili Crosby and Yinka Shonibare (though Shonibare is British-Nigerian) have gained international fame as well. However, in terms of historical impact and name recognition over the decades, Ben Enwonwu is often regarded as the foremost pioneer of Nigerian art. He is sometimes even called “Africa’s greatest artist” of the 20th century for his influence. Therefore, while art enthusiasts might debate the most famous Nigerian painter, Enwonwu’s legacy certainly secures him a preeminent place in Nigeria’s art pantheon.
Where can I see Ben Enwonwu’s art?
Ben Enwonwu’s artworks are showcased in several museums and public collections around the world, as well as in private collections. In Nigeria, a great place to start is the National Museum in Lagos, where his iconic bronze sculpture Anyanwu stands proudly at the entrance. The National Gallery of Modern Art (Lagos and Abuja) also holds Enwonwu paintings and sculptures, preserving them as national treasures.
Internationally, you can find Enwonwu’s art in places like the National Gallery of Art in Washington, D.C., which houses his 1945 painting “Boy” among other works. Some of Enwonwu’s pieces have been exhibited at the Tate Modern in London (historically, the Queen’s sculpture was shown there in 1957 Additionally, the United Nations Headquarters in New York features a full-size copy of Anyanwu on display, viewable by the public on guided tours.
Beyond physical locations, Enwonwu’s work can be explored through the Virtual Museum of Modern Nigerian Art, an online platform that includes images of his paintings and sculptures. Auction houses like Bonhams and Sotheby’s also occasionally exhibit Enwonwu’s works during preview events before sales – these can be opportunities to see a piece in person if it comes up for auction.
In summary, Enwonwu’s art is accessible via museums in Nigeria, major international art museums, certain public installations, and online resources dedicated to African art.
Is African art a good investment?
African art has increasingly become regarded as a good investment in recent years, and Ben Enwonwu’s auction records are a strong indicator of this trend. The global art market has started to recognize the historical and aesthetic value of African modernists and contemporary artists, leading to a surge in demand (and prices) for high-quality African artworks. Collectors and investors who bought works by artists like Enwonwu decades ago have seen their values multiply dramatically. For example, Enwonwu’s paintings that might have sold for five figures 20 years ago can now sell for six or seven figures. This upward trajectory is due to a combination of factors: growing international interest in diverse art beyond the Western canon, dedicated art fairs for contemporary African art (like the 1-54 Contemporary African Art Fair), and a new generation of wealthy African collectors investing in their cultural heritage.
However, like all art, investing in African art should be approached with research and passion. The market can fluctuate, and not every artwork will appreciate at the same rate. It’s wise to buy pieces that have cultural significance or unique qualities, and to ensure authenticity and provenance (unfortunately, fakes do exist in the market for famous artists). Enwonwu’s works, given his legendary status, are among the more “blue-chip” African art investments – they have a proven auction track record and historical importance. Emerging African artists’ works might offer even higher growth potential but come with more risk. In general, the consensus among art experts is that the African art sector is still undervalued relative to European or American art, so there is room for growth. Collecting African art can thus be both financially rewarding and personally fulfilling, as you support and appreciate a rich artistic heritage. As always, one should invest in art that they genuinely love and from reputable galleries or auction houses. Enwonwu himself once advocated for African artists to be valued on the world stage – today, that vision is coming true as African art earns its place in prestigious collections and auction results.
Explore Ben Enwonwu’s Artworks
Inspired by Enwonwu’s legacy and groundbreaking fusion of African tradition with modernist expression? Discover his iconic paintings and sculptures in museums, galleries, and prestigious collections around the world.
📍 Visit our upcoming auction catalogue to see how Enwonwu’s vision continues to shape the global art landscape.
Sources
Historical and market information in this article has been verified via the Ben Enwonwu Foundation (web.archive.org) (web.archive.org), archival records (e.g., NASA’s naming of the Enwonwu crater (en.wikipedia.org)), published biographies, as well as auction reports and news articles (en.wikipedia.org) (en.wikipedia.org). These sources ensure the factual accuracy of Enwonwu’s biography, his accomplishments as the first African artist in many arenas, and the details of his artworks and legacy.