Paper

Student Artwork Guide

Odalisque

Name Class Date

Brian Robb, Odalisque (1949), Middlesbrough Institute of Modern Art. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Brian Robb artsdot.com/en/artists/brian-robb/
Artist’s dates
1913 – 1979
Painted
1949
Original size
55 x 40 cm
Held at
Middlesbrough Institute of Modern Art artsdot.com/en/museums/middlesbrough-institute-of-modern-art-middlesbrough/

In context

Odalisque — Brian Robb

How big is it?

The original measures 55 × 40 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 1960
  7. 1970

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 66 at death.

Painted when the artist was 36. The artist lived to 66. 0 of the 2 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Brian Robb (1913–1979) ▲ this work, 1949 every dated painting, decade by decade

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/brian-robb-odalisque-ARAL24-en/

Colours

Measured from the image

    Main colour

    Gray #7c836b

    Catalogued palette

    • #7C836B
    • #394236
    • #C48224
    • #BCC9B9

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Gray
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Brian Robb over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 1 most looked-at works by Brian Robb

    1. 1 Odalisque, 1949 this painting 100.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 5 works by this artist, of which 1 were looked at at least once. This painting ranks 1 of them, with 100.0% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Odalisque — Brian Robb

    The Odalisque painting by Brian Robb is a stunning example of modern art, showcasing the artist's unique style and technique. Created in 1949, this oil on canvas piece measures 55 x 40 cm and is currently housed at the Middlesbrough Institute of Modern Art in the United Kingdom.

    Composition and Color Scheme

    The painting features a vibrant color scheme, with bold reds, yellows, greens, and blues that immediately capture the viewer's attention. The composition is dynamic, with the woman's long neck extending outwards and birds adding to the sense of movement and energy. An apple placed on the ground towards the bottom left side of the image adds a touch of still life to the scene.

    Artist and Style

    Brian Robb's style is characterized by his use of bold colors and distorted forms, which are evident in the Odalisque painting. His work is often compared to that of other modern artists, such as Suzuki Harunobu and Giovanni Segantini. To learn more about these artists and their works, visit the Brian Robb: Odalisque page on AllPaintingsStore.com or explore the Suzuki Harunobu: Akinuto - Repro and Giovanni Segantini: La falconiera pages.

    Some of the key features of the Odalisque painting include:

    Vibrant color scheme: The use of bold colors adds to the dynamic nature of the scene.

    Distorted forms: The woman's long neck and the birds in the scene are examples of Brian Robb's distorted forms style.

    Still life elements: The apple on the ground adds a touch of still life to the painting.

    To discover more about the Middlesbrough Institute of Modern Art and its collection, visit the Discovering the Masterpieces of Middlesbrough Institute of Modern Art page on AllPaintingsStore.com. For handmade oil painting reproductions of the Odalisque and other famous paintings, browse the AllPaintingsStore.com collection.

    Artist and museum

    Artist

    Brian Robb

    Brian Robb: A Master of Whimsical Camouflage and London Transport Charm

    Brian Robb (1913-1979) wasn’t merely a painter; he was an orchestrator of visual delight, a master of blending the fantastical with the functional. Born in Scarborough, England, into a family steeped in artistic tradition – his father was a renowned architect and his mother an interior designer – Robb inherited a keen eye for detail and a playful approach to design. His career spanned decades, encompassing illustration, painting, and a particularly significant contribution to wartime camouflage, all while maintaining a distinctive style characterized by vibrant colors, charming characters, and a deep affection for London’s iconic transport system.

    Early artistic training at Chelsea School of Art and the Slade School of Fine Art laid the groundwork for his diverse talents. However, it was during the 1930s that Robb truly established himself as a cartoonist for Punch, a publication known for its witty satire and distinctive illustrations. This period honed his ability to capture humor and personality in a single image – a skill he would later apply with remarkable success to his posters and designs for London Transport. His work during this time was marked by a lightheartedness that belied the looming shadow of war, foreshadowing the optimistic spirit that would define much of his wartime output.

    The Camouflage Officer: A Unique Contribution to WWII

    Robb’s most enduring legacy lies in his service as a camouflage officer during World War II. Recognizing his artistic sensibilities and keen eye for detail, Geoffrey Barkas, the head of the Middle East Command Camouflage Directorate, recruited Robb to lead a team tasked with deceiving enemy forces about the movements and strength of British troops in North Africa. This wasn’t simply about blending in; it was about creating elaborate illusions – constructing dummy stores dumps, staging false troop concentrations, and employing deceptive patterns on vehicles and equipment. Robb's contribution was particularly noteworthy because he brought an element of whimsy to a critical military operation. He designed the “Brian” store dump—a massive collection of 700 fake piles of supplies—which became a crucial component of Operation Bertram, the strategic deception campaign that supported the Battle of El Alamein.

    His innovative techniques involved not just visual camouflage but also manipulating light and shadow to create confusing patterns. Robb’s designs were so effective that they played a significant role in the Allied victory at El Alamein. He wasn't just an artist; he was a strategist, using his artistic skills to influence the course of war.

    London Transport Designs: A Celebration of City Life

    Alongside his wartime work, Robb’s designs for London Transport were immensely popular and remain iconic today. He created posters and advertisements that captured the energy and charm of the city – from bustling markets to elegant theaters, from historic landmarks to everyday scenes of urban life. His style was characterized by bold colors, dynamic compositions, and a sense of movement, perfectly reflecting the speed and excitement of London’s transport system. His work for the Underground, buses, and trams became instantly recognizable, contributing significantly to the visual identity of the city.

    These designs weren't merely functional; they were miniature works of art, imbued with a sense of optimism and civic pride. They celebrated London’s vibrancy and its role as a global center of commerce and culture. Robb’s posters are now highly sought after by collectors and are frequently reproduced in books and exhibitions.

    Legacy and Artistic Influence

    Following the war, Robb returned to teaching at Chelsea College of Art and later became head of illustration at the Royal College of Art, where he mentored a generation of talented artists. His influence can be seen in the work of Quentin Blake, one of his most celebrated pupils, who has described Robb’s art as “having a humane, wry, almost teasing character.”

    Brian Robb's legacy extends beyond his individual artworks; it resides in his unique blend of artistic skill, strategic thinking, and whimsical imagination. He demonstrated that art could be both beautiful and effective, contributing not only to the aesthetic landscape but also to the success of a nation during times of conflict. His work continues to delight and inspire, serving as a testament to the power of visual communication and the enduring appeal of his distinctive style.

    Museum

    Middlesbrough Institute of Modern Art

    On show in Middlesbrough, United Kingdom

    A Sanctuary of Modernity in the Heart of Teesside

    Nestled within the industrial landscape of Middlesbrough, the

    Middlesbrough Institute of Modern Art

    , affectionately known as MIMA, stands as a luminous beacon of creativity and cultural resilience. It is not merely a gallery but a profound dialogue between the region's storied past and its vibrant, forward-looking identity. The museum serves as a vital sanctuary where the raw energy of contemporary art meets the thoughtful contemplation of historical context. For the discerning collector or the lover of fine aesthetics, MIBMA offers an immersive experience that transcends the traditional boundaries of a museum, acting instead as a living, breathing organism of artistic expression that breathes life into the urban fabric of the United Kingdom.

    The architecture of the institute itself is a masterclass in the seamless integration of heritage and modernity. As visitors step through its doors, they are greeted by a space that feels both grounded in history and unburdened by it. The museum’s design facilitates a rhythmic movement through light-filled galleries, where the interplay of shadow and illumination creates an ever-changing canvas for the works on display. This architectural fluidity is essential to the MIMA experience, providing a neutral yet evocative backdrop that allows the textures, colors, and scales of the artworks to command absolute attention. For interior designers seeking inspiration, the museum’s spatial harmony offers a profound lesson in how structure can elevate the emotional resonance of art.

    A Curated Journey Through Contemporary Voices

    The collection at MIMA is a curated journey through the complexities of the modern era, characterized by its bold commitment to contemporary voices and diverse perspectives. The highlights of the permanent holdings and rotating exhibitions often challenge the viewer to reconsider their place in a globalized world. The museum’s selection is nothing short of breathtaking, ranging from large-scale installations that redefine the perception of space to intimate, delicate works on paper that whisper of profound human emotion.

    Within its walls, one might encounter works such as:

    Across Low Moor

    by Peter Joyce, an acrylic on paper piece from 1994 that utilizes a bold red background and symbolic objects like chairs and a clock to invite deep interpretation.

    Odalisque

    by Brian Robb, a stunning 1949 oil on canvas that captures the viewer with its vibrant color scheme of reds, yellows, greens, and blues.

    Diverse works from internationally recognized artists that showcase the museum's commitment to the avant-garde.

    What truly distinguishes MIMA from its global counterparts is its unique ability to foster community through the lens of the contemporary. The museum’s exhibition program is renowned for its bravery, often tackling pressing social themes and presenting works that provoke deep, necessary conversations. Whether it is exploring the nuances of identity, the impact of technology, or the beauty of the natural world through an abstract lens, MIMA remains a cornerstone of artistic excellence, ensuring that the spirit of modern art continues to flourish and inspire generations of dreamers and creators.

    Where to read more

    Find this online

    QR code linking to the download page for Odalisque

    artsdot.com/en/art/download/brian-robb-odalisque-ARAL24-en/

    Cite this artwork

    MLA
    Robb, Brian. Odalisque. 1949, Middlesbrough Institute of Modern Art. https://artsdot.com/en/art/brian-robb-odalisque-ARAL24-en/
    APA
    Robb, Brian (1949). Odalisque [Painting]. Middlesbrough Institute of Modern Art. https://artsdot.com/en/art/brian-robb-odalisque-ARAL24-en/
    Chicago
    Brian Robb. Odalisque. 1949. Middlesbrough Institute of Modern Art. https://artsdot.com/en/art/brian-robb-odalisque-ARAL24-en/
    Harvard
    Robb, Brian (1949) Odalisque. Middlesbrough Institute of Modern Art. Available at: https://artsdot.com/en/art/brian-robb-odalisque-ARAL24-en/

    Look closely

    Odalisque — Brian Robb

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at The Cheerful Troubadour, earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Brian Robb was about 36 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Who sells hand-painted copies of "Odalisque" by Brian Robb?

    Hand-painted copies of "Odalisque" by Brian Robb are sold on this website: a hand-painted oil reproduction on linen canvas, ordered from its Hand-Painted Reproduction page.

    Can the image of "Odalisque" by Brian Robb be freely reproduced?

    The copyright answer for "Odalisque" by Brian Robb: the work is still protected by copyright. This determines whether reproductions of the image may be freely made.

    How big is the original "Odalisque"?

    "Odalisque" measures 55 x 40 cm in its original form. Original dimensions are a useful reference when choosing a reproduction size.