A geometric, abstract study of the human form by Arshile Gorky, featuring a muted palette and structural composition.

Arshile Gorky, born Vostanik Manoug Adoyan, produced this work during a period of intense stylistic experimentation. The Barber (Composition No. 5) reflects the influence of European modernism, particularly the synthetic cubism of Pablo Picasso, which Gorky studied closely during his early years in New York. The composition reduces the human form to a series of geometric shapes, including triangles, circles, and stark vertical lines, set against a muted grey background.

In this piece, the figure is rendered through a flattened perspective. The central yellow orb acts as a point of visual interest, contrasting with the monochromatic palette of the surrounding forms. Gorky employs a deliberate, heavy application of paint, which gives the surface a tactile quality. The figure is not a literal representation of a barber, but rather a structural exploration of form and space. The work demonstrates Gorky's transition from his earlier, more traditional training toward the abstract language that would define his later career. By stripping away extraneous detail, the artist focuses on the relationship between geometric volumes and the negative space of the canvas. This approach allows the viewer to observe the construction of the image, where lines and planes interact to suggest a presence without relying on anatomical accuracy. The work remains a clear example of the artist's engagement with the formal concerns of early twentieth-century avant-garde painting, prioritising structural integrity over narrative content.