Artwork
The Feathered Turban (Le turban à aigrette)
The Feathered Turban (Le turban à aigrette) is an ink print by Albert Besnard. It dates from 1901 and is held in the collection of the National Gallery of Art.
- Inscription
- Inscribed:"ABesnard" lower right margin, graphite, artist's hand. Not dated. "Le Turban (or l'aignette)" lower left margin, graphite, unknown hand. "Tirage d'artiste à 50" lower left margin, graphite, artist's hand. "169" lower left margin, graphite, unknown hand. "c5658" lower left margin, graphite, unknown hand. "C.15H" lower left margin, graphite, unknown hand. "I" lower left margin, graphite, unknown hand. "A. 269811" lower right margin, graphite, unknown hand. Verso: none.
- Markings
- Marked:"LRJ" verso, black stamped ink, stamped twice, (Lugt 1760b). "National Gallery of Art" verso, black stamped ink, (Lugt 1932d).
About this work
Overview
Albert Besnard’s 1901 print The Feathered Turban (Le turban à aigrette) is executed on laid Van Gelder paper using a combination of etching and drypoint. The work presents a reclining nude figure whose head is tipped back, framed by a loosely rendered turban. The composition is marked by rapid, sketch‑like lines that give the surface a spontaneous, unfinished quality.
Subject & Meaning
The image centers on a solitary female nude, her posture relaxed and her gaze directed upward. The tilted head and exposed shoulders suggest a moment of private contemplation or sensual repose. The turban, rendered with feather‑like strokes, adds an exotic decorative element that contrasts with the simplicity of the figure’s form.
Technique & Style
Besnard employs layered line work to model volume, allowing overlapping incisions to deepen shadows across the skin and headpiece. The drypoint burr creates a velvety texture, especially in the darker areas, while the etched lines remain finer and more precise. The background is suggested with a soft, almost hair‑like wash that softens the overall composition.
Context
Created at the turn of the twentieth century, the print reflects the era’s interest in combining academic figure drawing with the freer, more expressive qualities of printmaking. Besnard’s use of both etching and drypoint demonstrates his willingness to explore the technical possibilities of the medium, situating the work within the broader revival of graphic arts in early‑1900s France.
Own this work as a print
Artist & collection
After the Bath (La sortie du bain (Petite planche))
Femme nue vue de dos (Nude Woman Seen from the Back)
Seated Nude Woman from the Back
Seated Nude with a Cigarette
Nude with Her Arms Raised (Le modèle nue les bras levés)
Nude with Her Arms Raised (Le modèle nue les bras levés)
Passage of a Soul
Bust
Nude Girl Combing Her Hair
Study of a Woman, Viewed from the Back (Étude de femme vue de dos)