Arab in a burnous
(Arabe au burnous)
1948
- Medium
- oil on canvas
- Measurements
- 91.8 × 73.0 cm
- Inscription
- inscribed in purple paint u.l.: J. Dubuffet 48
- Accession Number
- EA4-1981
- Department
- International Painting
- Credit Line
- National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of the National Gallery Women's Association, Governor, 1981
© Jean Dubuffet/ADAGP, Paris. Licensed by Copyright Agency, Australia
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Ms Carol Grigor through Metal Manufactures Limited - Gallery location
- Not on display
- About this work
-
Dubuffet rejected traditional methods and sources of painting and advocated for the study of marginal art forms, which he termed art brut. Art brut embraced the art of children, amateurs and the mentally unstable, as well as found objects and the rough scribblings of graffiti. Arab in a burnous is one of twelve resolved paintings that Dubuffet made in 1948–49 which reflected his recent travels in Algeria. The engaging amalgam of childlike forms and graffiti-inspired draughtsmanship seen in this painting reflects Dubuffet’s fascination with art brut, while maintaining the sophistication of a haunting evocation of a windswept Saharan vision.
- Subjects (general)
- Abstract Art Human Figures
- Subjects (specific)
- Arabian (culture) brown (colour) burnouses cloaks men (male humans) texture (artistic concept)
Frame
-
-
When Dubuffet’s Arab in a burnous was acquired in 1981 it came housed in a deep red and gold scotia frame with a wide flat linen slip.
When the painting was removed from this frame for examination in 1988, it was noted as having a thin, black, painted strip of wood pinned to all sides.
This was taken to be the original presentation of the painting and the broad, gilded frame put aside.
The timber strips have a quarter round at the front and back edge, are 5 mm deeper than the edge of the painting and are pinned to the sides so that the top edge of the frame is flush with the surface of the work. The corners are mitred and the surface is black paint.
It is possible these pieces of timber are an edge strip moulding brought across to the framing of the work.
The painting has been on display in the black, strip frame since 1988. - Framemaker
- Unknown - 20th century
- Date
- c.1948
- Materials
-
timber with rounded edges, black paint
- Dimensions
- 1” x ¼” strip of timber added to all sides.