[2] The sculptor Ossip Zadkine at the Académie de la Grande Chaumière introduced him the traditional African sculpture, and he grew to love painting from Yves Brayer.

N'Diaye, however, remained committed to teach the fundamentals and techniques of Western art, at times putting him at odds with his fellow teachers and artists.

While Tall's vision was to win out in the short term, the 1970s and 80s saw a reappraisal of N'Diaye's positions and an eventual rejection of the more straightforward state-sponsored "Africanité".

[4] President Senghor, as a poet one of the founders of Negritude, devoted as much as %25 of the Senegalese budget to the arts and was seen as the patron of artists like the Ecole de Dakar.

[7] Upon the artist's death, President of Senegal Abdoulaye Wade called N'Diaye the "Father-founder of Senegalese Modern Art.

Thus N’Diaye's works transcend barriers of race, culture, aesthetic, by capturing the past, the present to highlight existential issues.

Moreover, it is to its intrinsic connotation of fight against racism, discrimination, alienation that N’Diaye tried to attune his voice, in the aim to lay hold of this powerful channel of protest, recusant and of autodetermination, in a timeless dimension, through the use of his academic artistic knowledge.

The painting “La ronde, à qui le tour?” <>, illustrates the violence of the human being on nature, more on his alike.

Hence, the artist's use of color palette that depicts butchery scenes tends to make us aware of violence abuse found in genocide, killings, oppression, as he declared : “Les éléments plastiques que sont la couleur du sang, le sol craquelé des latérites africaines, la ronde sacrificielle me sont apparus comme des traductions possibles de l’oppression d’un peuple sur un autre ou d’un individu sur un autre” [11] <>.

During his peregrinations in Europe's museums and Africa, Iba N’diaye assess the past via the artistic productions that prevailed from Velasquez to Picasso, to some primitive African masks and sculptures.

N'Diaye exhibited his paintings in New York City (1981), in the Netherlands (1989); in 1990 in Tampere (1990), and at the Museum Paleis Lange Voorhout in The Hague (1996).

[13] N’Diaye's works do not evolve in a chronological manner, rather in thematic series in which each theme is developed throughout time, allowing the pencil of the artist to be fully expressed.

Equally, Jazz musicians, painted in movement and swirls of color, have been a recurring theme in his work: his "Hommage à Bessie Smith" is perhaps the best known.