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Student Artwork Guide

Self Portrait

Name Class Date

Brian Robb, Self Portrait (1949). 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
61 x 26 cm

In context

Self Portrait — Brian Robb

How big is it?

The original measures 61 × 26 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-self-portrait-ARAL22-en/

Colours

Measured from the image

    Main colour

    Espresso #634f37

    Catalogued palette

    • #634F37
    • #DBD5C2
    • #352724
    • #939077

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

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color 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 2 most looked-at works by Brian Robb

    1. 1 Odalisque, 1949 100.0%
    2. — Self Portrait, 1949 this painting 0.0%

    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 has not been looked at yet in that time — it closes the list without a rank. 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.

    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.

    Where to read more

    • The artist Brian Robb artsdot.com/en/artists/brian-robb/
    • Similar works More works to compare artsdot.com/en/art/similar/brian-robb-self-portrait-ARAL22-en/

    Find this online

    QR code linking to the download page for Self Portrait

    artsdot.com/en/art/download/brian-robb-self-portrait-ARAL22-en/

    Cite this artwork

    MLA
    Robb, Brian. Self Portrait. 1949, https://artsdot.com/en/art/brian-robb-self-portrait-ARAL22-en/
    APA
    Robb, Brian (1949). Self Portrait [Painting]. https://artsdot.com/en/art/brian-robb-self-portrait-ARAL22-en/
    Chicago
    Brian Robb. Self Portrait. 1949. https://artsdot.com/en/art/brian-robb-self-portrait-ARAL22-en/
    Harvard
    Robb, Brian (1949) Self Portrait. Available at: https://artsdot.com/en/art/brian-robb-self-portrait-ARAL22-en/

    Look closely

    Self Portrait — 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 Odalisque (1949), 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

    What underlying hue runs through "Self Portrait" by Brian Robb?

    A golden yellow range hue runs through "Self Portrait" by Brian Robb.

    When was "Self Portrait" made?

    "Self Portrait" dates from 1949. The date places the work within Brian Robb's career and its era.

    Is "Self Portrait" by Brian Robb a bright or a dark artwork?

    Overall, "Self Portrait" is recorded as deep_shadow. Perceived brightness describes how light or dark the work appears.