• Additional image 1 of artwork by Davis Lisboa
  • Additional image 2 of artwork by Davis Lisboa
  • Additional image 3 of artwork by Davis Lisboa

"Robert Filliou 20"


Size: 19.7 H x 19.7 W x 1.6 in

Ships in a cardboard box This work will ship flat in a sturdy, well-protected cardboard box. Read more

Shipping included
7-day money back guarantee We offer a 7-day money-back guarantee on all works purchased through Saatchi Art, except for limited editions printed specially for you. Framed prints cannot be refunded nor exchanged.
Trustpilot Score
  • 24
  • 2

Artist Recognition

Artist featured in a collection Artist featured in a collection

Art Description

Painting: Oil on Canvas.



The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona

Davis Lisboa, “Robert Filliou 20”, 2019, oil on canvas, 19,68 x 19,68 x 1,57 in (50 x 50 x 3,5 cm).




What/who inspired the work?

Conceptually, I was inspired by "Autoportrait bien fait, mal fait, pas fait" (Self-Portrait Well Made, Badly Made, Not Made), assemblage, 1973, by Robert Filliou (Sauve, France, 1926 - Les Eyzies, France, 1987).

Robert Filliou’s work was born of the art/life interconnections that came about from the late 1950s onwards, and really took off as part of the living, anti-art, anti-commercial driving force that was Fluxus. As Filliou himself said: “Art is what makes life more interesting than art.” Authorship, much-reviled artistic “taste” and the very existence of the artwork are all challenged with gestures not far from the Marcel Duchamp ready-mades. The work consists of a photograph of the artist wearing a paper hat (an inescapable iconic reference to puppet regimes and fake authority), an empty wooden box and the back of a canvas bearing the hand-written inscription “Portrait de l’artiste”. Autoportrait bien fait, mal fait, pas fait (Self-Portrait Well Made, Badly Made, Not Made) is an ironic comment on the artwork’s iconic character, by means of a triptych created to ridicule both the artist himself and his creation. An addition to the old academic idea of art being “well” or “badly” made is the concept of it being “not made”, as a recognition of inactivity or a reminder of the progressive disappearance of the artist as he had been conceived up to that point, or of the dematerialisation of the work of art as actions are pursued that expand the traditional physical frameworks of art.

Formally, I was inspired by the German painter Gerhard Richter, who began in 1960 to create his iconic photographic paintings. From a collection of photographs that he added throughout his life, from newspaper clippings to family photos, Richter projected and drew the images on a canvas. In the process of recreating the photos, he deleted the images, leaving the subjects unidentifiable. I was also inspired slightly in the first cubist portraits of Pablo Picasso from 1909.

What do you hope its viewers will think?

I hope that viewers understand that there is a narrative within the history of art that deals with the artists who created their own museums. This narrative is constructed through Marcel Duchamp (Boîte-en-valise, 1936-1941), Robert Filliou (La galerie légitime, 1962-1963) and Marcel Broodthaers (Musée d'Art Moderne, Département des Aigles, 1968-1972). Following this narrative, I decided to create the Davis Museum | The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona (2009-ongoing), which is, simultaneously, a readymade sculpture, a non-profit collective art project, and at the same time, a cultural entity recognized by the Generalitat de Catalunya (an Autonomous Community in Spain). Created symbolically in an electoral ballot box and disseminated mainly through Facebook, the Davis Museum is also the smallest contemporary art museum in the world. This cultural entity has several sections and one of them is "The Paintings Section From Davis Museum". It is divided into portraits and still lifes. The portraits represent Marcel Duchamp, Robert Filliou and Marcel Broodthaers; while still lifes represent the "Boîte-en-valise" (Box in a suitcase), the "Galerie légitime" (Legitimate gallery) and the "Musée d'Art Moderne, Département des Aigles" (Museum of Modern Art, Department of Eagles).

Why did you choose the medium, the frame format and the color?

I chose oil on canvas because I am interested in painting not only because of its versatility as a medium but also because of its rich historical repository of images and ideas. Only the best materials have been used for this work: linen canvas, oil paintings by Old Holland and medium by Blockx. As the Davis Museum is a cube, I chose the frame of the paintings to be square. I chose the gray color for the paintings from 2011 to 2016. Then, the blue color for the paintings from 2016 to 2018. And I chose the combination of blue and yellow colors for the paintings from 2019 to the next.

“The Paintings Section” is the only section from Davis Museum where works of art are on sale. Support The Davis Museum art project by buying now this painting on Saatchi Art.


The Alejandro Vásquez Herrero Collection, Viladecans, Spain. The Daniel Marcoux Collection, Montreal, Canada. The Francesc Torres Collection, Barcelona, Spain.
The Geert De Kegel Collection, Zele, Belgium.
The Soteris Argyrou Collection, Nicosia, Cyprus.
The Yellowstone Club Collection, Big Sky, Montana, USA.

Davis Lisboa | Pintor Artístico

Keywords: Folded Paper Hat, Art Gallery In A Hat, Straight Shapes, Slightly Cubist Portrait, Blue And Light Yellow, Bust, Art History, Triangle, Robert Filliou, Fluxus, Blurred Face, La Galerie Légitime

Subjects: World Culture

Styles: Documentary, Figurative, Fine Art, Pop Art, Portraiture

Mediums: Oil

Materials: Canvas

Prints: World Culture Art Prints, Documentary Art Prints, Figurative Art Prints, Fine Art Art Prints, Pop Art Art Prints, Portraiture Art Prints, Oil Art Prints, Canvas Art Prints

Artist Recognition

Artist featured in a collection Artist featured by Saatchi Art in a collection