•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
Saatchi Art
Saatchi Store
Current Exhibition

EXHIBITED AT THE SAATCHI GALLERY

*
Marlene Dumas
Young Boys

1993

Oil on Canvas

100 x 300cm
In Young Boys, Marlene Dumas’s line-up of ghostly lads is stark and oppressed against the ominous background, trailing off in the distance into mere sketchy traces of suggestion. It’s this suggestion that Dumas does best: a void of colour, a bleeding line, she creates a subtle, unnerving, perversity from an unabashed simplicity. This is painting with no frills: full on, with nowhere to hide.
*
Marlene Dumas
Young Boys

1993

Oil on canvas

100 x 300 cm
*
Marlene Dumas
The Cover-up

1994  

Oil on canvas

198 x 99 cm
*
Marlene Dumas
Die Baba [The Baby]   

1985

Oil on canvas

130 x 110 cm
*
Marlene Dumas
Jule - die Vrou [Jule - the Woman]   

1985

Oil on canvas

125 x 105 cm
*
Marlene Dumas
Feathered Stola  

2000  

Oil on canvas

100 x 56 cm
*
Marlene Dumas
Marlene Dumas - Installation Shot





*
Marlene Dumas
Passion

1994

Gouache and ink on paper

61 x 49 cm
*
Marlene Dumas
The Cover Up

1994

Oil on Canvas

198 x 99cm
In The Cover-Up, Marlene Dumas presents a corruption of innocence. Her portrayal of a young child with its clothes lifted over its head immediately gives way to dark thoughts of sexuality and exploitation. The controversy isn’t in the images Marlene Dumas paints, but in the way they’re subverted by an implied knowingness, a blatant confrontation with a natural reality and its discomforts.
*
Marlene Dumas
Jule-die Vrou

1985



125 x 105cm
Jule-die Vrou is a disembodied portrait painting framed in extreme close-up; only the model’s eyes and lips are fully rendered attributes of seduction and sexuality. The rest of the painting is obliterated by a corpulent fleshy pink, suggestive of femininity, sin, violence and womanhood. The contrast between representation, and abstraction suggests a psychological disparity, where morality, representation, and social convention are questioned.

‘I don’t have any conception of how big an average head is, I’ve never been interested in anatomy. In that respect I relate like children do. What is experienced as most important is seen as the biggest, irrespective of actual or factual size. In the movies everything is larger than life and yet you experience that as real(istic); all my faces are much bigger than human scale. From blowing up to zooming in, for me the “close-up” was a way of getting rid of irrelevant background information and by making the facial elements so big, it increased the sense of abstraction concerning the picture frame. The elimination of the background also did away with the place of being and environmental context.’

‘As the isolation of a recognisable figure increases and the narrative character decreases (contrary to what one might initially assume that this lack of illustrative information would bring about), the interpretative effects are inflamed. The titles re-direct the work, however, they do not eradicate the inherent ambiguity. One cannot interpret the painting of Jule-die Vrou without entangling some of the root metaphors applied not only to the female, but to the idea of portrayal in general’. Marlene Dumas, 1992.
*
Marlene Dumas
Die Baba

1985

Oil on Canvas on Linen

130 x 110cm
Bathed in sickly blue-yellow light, Marlene Dumas’s baby is almost repellent. Instead of an instant love affair, Dumas paints an alien encounter, the unnerving presence of an ‘other’, the realisation of an individual with a will and determination of his own. Marlene Dumas confronts the reality of motherhood, with all its natural and terrifying implications.
*
Marlene Dumas
Feather Stola

2000



100 x 56cm
In Feather Stola, Dumas recalls the painterly gestures of expressionism, while combining the critical distance of conceptual art with the pleasures of eroticism. The relationship between art and female beauty - or between art-historical models and twentieth-century supermodels - are constant themes in her work.

OTHER RESOURCES

artfacts.net
Additional information on Marlene Dumas

postmedia.net
Further information on the Marlene Dumas and presentation of her art

the-artists.org
Modern and contemporary artists and art - Marlene Dumas

newmuseum.org
New Museum of Contemporary Art - on Marlene Dumas

thegalleriesatmoore.org
Marlene Dumas - The Good, the Bad, and the Ugly

kewatt.com
Rembrant in South Africa - Profile on Marlene Dumas

iniva.org
Marlene Dumas in dialogue with Gavin Jantjes

newsgrist.typepad.com
Marlene Dumas and Painting Mass Media

absofacts2.com
De tentoonstelling "Name no Names" van Marlene Dumas is georganiseerd door het Centre Pompidou, Musee national d'art moderne..

stylusart.com
Esta entre las pintoras figurativos mas importantes de hoy en da. Nacida y educada en el sur de africa.