The Ovimbundu constitute an important Angolan population living in the current province of Benguela. The art of this culture is well known to the general public and the number of Ovimbundu is relatively limited. The Royal Music of Central Africa (MRAC) has one of the most beautiful collections of Pie & Egrave; This precedence of Ovimbundu within a music initially consecrated; & agrave; which is now the public of the Mocratic of the Mocratic of the Congo, largely explains by the work of one man, Robert Verly.

Robert Verly (1901-1963) & eacute; Painter who was initially part of the Arts Protection Commission and the Indigvered Third Parties. In the years 1940, he was also charged; an ethnographic mission in Angola by the Royal Music of the Art and D & RSquo; History of Brussels (MRAH). It is during this mission that he collected Ovimbundu statuettes, some of which are here with the same. The objects were first registered with the MRAH before the transf; Numerous information on intellectual life and matt of Ovimbundu and Kimbundu. The death of the researcher made that most of his work and research could not be published. interrogate, & agrave; Through the collectors who collect by Robert Verly or other researchers, certain aspects of religious, social and political life of the Ovimbundu. It is mainly active by minines or male statuettes of great sculptural finesse, which are around with some phalomorphs and other objects such as pipes. A manner, the function of these objects is & agrave; Classify in four large cats. Some are linked & agrave; The person of the Soma (the chief or sovereign), others are listed to the activities of the Ocimbanda (Le Devin), some, a characteristic of the frustrating often, & agrave; hunting rites. Finally, there is also a whole sculptural production which has had only the sole function of which is sold to the EUCTE;