  The aspect on which Senghor insists the most is that of Négritude as a philosophy of African art. One of the main activities of Senghor when he first arrived in Paris at the end of the 1920s was to visit the ethnographical museum at Place Trocadéro in Paris. By then the vogue of art nègre (black art) had already produced its effects on modern European art. Pablo Picasso, in particular, in 1906 had made the turn of making African sculptures and masks part of his artistic pursuit: his Demoiselles d’Avignon, painted in 1906, manifested that move. The 1930s, the years when Senghor, Césaire and Damas started writing, is the time when what was labeled “primitive objects” were now more widely perceived as art, beyond the circles of the artistic avant-garde. The Universal Exposition in Paris in 1931 showed that new  “sensibility”.[10]