The Cameroonian scene is said to be made up of 4 generations, the first of which really took root in the 1940s and 1960s. It takes shape and gradually lights up with “the greats” like Barthélémy Toguo, but also Hervé Youmbi, Justine Gaga, Salifou Lindou, Joël Mpah Doh and many others. The scene presents an extraordinary solidarity and each generation comes to support the next and guide it on the paths of art. It is the late arrival of the first schools of Fine Arts (around 2009-2010) that will train the youngest generations in the "grande manner", thus bringing the figurative up to date while generating ever more interesting initiatives. . However, it is indeed the “elders” who deepen their training outside the walls and give them somehow the keys to understanding the world in which they are called to evolve. 

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The performing artists are striking in their number and diversity. However, this is still not what is put forward at a time when we are still talking about THE African scene, forgetting the plural which is its strength.

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Materializing one's curiosity is indeed the act of moving around, of going to see, questioning, understanding. If Vasari in his time went to meet the most incredible artists who populated the lands of his country, today it is up to us to collect the words of these painters and sculptors who nourish a scene that is still too little studied. It is therefore necessary to follow in the footsteps of the greats who precede us and to help them carry the torch that they so valiantly set ablaze.

The Cameroonian scene is complex, rich and strong with an unfailing family atmosphere. It does not stop at the borders of the Kamer, and also embraces its children of the metropolis, who revive ever more important and striking questions of humanism. According to the art-ivist Louise Abomba it is necessary to talk soul to soul to understand the richness of Cameroonian artists: “They are like Cameroonian donuts, each has its own shape, its own elegance and its own taste and undoubtedly addictive."