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Andrew M Brown

Andrew M Brown is a writer with an interest in mental health and the influence of addiction on culture.

How Lucian Freud's portrait of the Queen divided critics

By Andrew M Brown Royal family Last updated: July 22nd, 2011
22 Comments Comment on this article

In 2001 Lucian Freud completed a painting of the Queen. Knowing what an uncompromising eye the painter had, it is surprising that so many critics and members of the public were shocked by the finished work.
The tabloids hated the portrait. “You’re no oil painting, Ma’am,” was the Mirror’s headline. The Sun called it a “travesty” and their legendary royal photographer Arthur Edwards said: “They should hang it in the khazi.” The Telegraph said it was “extremely unflattering” but praised it in other respects. As for the Times, its arts writer Richard Morrison said: “The chin has what can only be described as a six-o’clock shadow, and the neck would not disgrace a rugby prop forward.”
Some critics, mainly the more progressive, approved of the painting. Richard Cork, the Times’s chief art critic, praised the work as “painful, brave, honest, stoical and, above all, clear sighted”. And Adrian Searle of The Guardian said: “Freud has got beneath the powder, and that itself is no mean feat. Both sitter and painter have seen too much, are easily, stoically bored. They know the shape they’re in. This is a painting of experience.”
Searle’s point was echoed by quite a few other critics – the painting was seen as honest and as conveying something true about the Queen’s long service, experience and devotion to duty. Perhaps it was a little too severe in its naturalism. In his effort, I take it, to convey a psychological reality, Freud has stripped the Queen of anything that’s elegant or romantic or pretty. She looks grim and solid and her face appears to have the texture of putty. But, then, Freud’s unsparing approach to his subjects was not exactly a secret by this time. The tabloids’ response has a slight air of manufactured outrage. What on earth did people expect?

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Lucian Freud: 10 things you didn't know about his paintings

Beneath the thick lashings of paint, there are a great many things to be discovered about Lucian Freud's work.

'Boy Smoking' by Lucian Freud, 1951-2 Photo: AP

By Florence Waters
10:24AM BST 22 Jul 2011
Comment

Almost all of us carry an image of a ‘Freud’ around in our minds – a gracelessly posed, grossly sagging woman, perhaps, or a face sculpted in paint that appears to fold and puff like a cauliflower ear. We all think we know his painting but, beneath the thick lashings of paint, there are a great many things to be discovered:

1. Freud’s paintings are autobiographical. Almost all the people he chooses to paint tell a story about himself and his values (he rarely worked on commission).

2. Freud has only once ever, he recalled, completed a portrait of a person he did not like, a book dealer called Bernard Breslauer. He so disliked the model that he was deliberately unkind and over-egged the pudding of a man in front of him, making him “even more repulsive than he actually was”. The unhappy sitter, on acquiring the portrait, sent Freud a letter saying that he had “contravened an unwritten contract between painter and sitter.” The painting in question was destroyed by the model.

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3. Freud did not begin to employ thick sculptural brushstrokes until later in his career, a decision which lost him some important supporters in the art world at the time.
4. Freud knew a great many artists but remained a great individualist and did not bow to other talent: he remembers Picasso as “absolutely poisonous”, Man Ray as “noisy and vulgar”, and German expressionist Max Ernst as a “heavy and stiff” dinner companion.
5. Freud had an almost visceral hatred of almost all art of the Renaissance. It makes sense: the Renaissance was the period, above all, during which man was celebrated as the crown of creation. Freud’s belief was the opposite: man, he seems to say, must never forget the fact that he is deteriorating matter. It was Kant who first observed that an aesthetic encounter can be one that is mixed with pain, and Freud proves it eloquently.
6. Freud disliked art that looks too much like art. On sitting for a Freud portrait the art critic Martin Gayford remembered that “the awkwardness that critics complain of in LF’s work is deliberate.” A 1950 painting in the Tate Britain called ‘Boy Smoking’, for example, is not a realistic portrait. The eyes are glassy and hollow, the face so flat you could tear it. But the flatness here tells us something of the boy’s circumstances: it is as if a hard expression has been ironed in place on his youthful skin. Freud met the boy, named Charles Lumley, when he and his brother were “in the act of breaking into his studio”. Freud was living in Paddington, a working-class area at the time, and he befriended some of his criminal neighbours
7. Freud famously painted a rather unflattering portrait of the Queen and celebrities like Kate Moss, but he also admired – and loved to paint – friends and scallywags, including a “very clever bank robber” (his words) who is now immortalized as a scar-faced man in a Lucian Freud called ‘A Man and His Daughter’ (1963-4). One’s overwhelming impression of that picture is that it was painted with a great deal of respect.
8. Freud used to say that time was his one great luxury in life. He took a great deal of time to get to know his subjects, and sometimes would be paintings them for years. He asks that of his audience too: every Lucian Freud portrait has a different presence, requires time to get to know.
9. Freud rarely talks about his art. He almost always refused interviews and, aged 81 at the time the conversations in this book were recorded (2003-4), it had taken him his 49 year career, he says, to “know that the main point about painting is paint: that it is all about paint.”
10. Freud saw every object in the world as possessing a unique character. Even into the sixtieth decade of his career, he still celebrates the unique history of each material thing he drew and painted. It is his acute sensitivity to the multitudinous variety of ‘being’ that kept him invigorated by his work.
Please leave your Lucian Freud trivia and tributes in the box below

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"Even
into the sixtieth decade of his career, he still celebrates the unique
history of each material thing he drew and painted."It's amazing he keeps going considering he's almost 600 years old.

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Celeb Watch

Nudist painter Lucian Freud dies at 88

ANI
London, July 22, 2011

First Published: 13:40 IST(22/7/2011)
Last Updated: 14:37 IST(22/7/2011)

Employees hold Lucian Freud's painting "Benefits Supervisor Sleeping" during a photo opportunity at......

British painter, Lucian Freud who gained fame for his intense and deeply textural nude paintings died in his London home on Wednesday at the age of 88. Born in 1922 in Berlin, Freud was psychoanalyst Sigmund Freud’s grandson. New York dealer William Acquavella has portrayed Freud “as one
of the great painters of the 20th Century”.“In company he was exciting, humble, warm and witty. He lived to paint and painted until the day he died, far removed from the noise of the art world,” he added.
Recent auctions have seen his works being highly adored; his portrayal of an overweight nude woman sleeping on a couch was sold in 2008 for 33.6 million dollars – a record for a work by a living artist.
“The vitality of [Freud''s] nudes, the intensity of the still life paintings and the presence of his portraits of family and friends guarantee Lucian Freud a unique place in the pantheon of late 20th Century art,” the BBC quoted Nicholas Serota, director of the Tate gallery.
William Feaver, former Observer art critic who knew Freud for more than 40 years, said Freud “restored portraiture to its proper place”, by focusing on people from all walks of life and not just successful businessmen or their wives.
“He said everything he did was autobiographical and a self portrait. He was a witty, impulsive artist but generous with it,” he added.

Copyright © 2011 HT Media Limited. All Rights Reserved.

Lucian Freud

From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (July 2011)

This article is about a person who has recently died. Some information, such as that pertaining to the circumstances of the person's death and surrounding events, may change as more facts become known.

Lucian Freud
Lucian Freud
Born	8 December 1922 Berlin, Germany
Died	20 July 2011 (aged 88) London, England
Nationality	Naturalised British citizen of Austrian, Czech and German parentage
Field	Painting
Training	Central School of Art East Anglian School of Painting and Drawing Goldsmiths College
Movement	Realism · Expressionism Surrealism

Lucian Michael Freud, OM, CH (8 December 1922 – 20 July 2011)^[1] was a British painter. Known chiefly for his thickly impasted portrait and figure paintings, he was widely considered the pre-eminent British artist of his time.^[2] His works are noted for their psychological penetration, and for their often discomfiting examination of the relationship between artist and model.^[3]

Contents [hide] 1 Early life and family 2 Early career 3 Change in style 4 Later career 5 Working process 6 Personal life 7 Selected solo exhibitions 8 Notes and references 9 See also 10 Further reading 11 External links

[edit] Early life and family

Born in Berlin, Freud was the son of an Austrian Jewish father, Ernst Ludwig Freud, an architect, and a German Jewish mother, Lucie née Brasch.^[4][5] He was a grandson of Sigmund Freud, elder brother of the late broadcaster, writer and politician Clement Freud (thus uncle of Emma and Matthew Freud) and of Stephan Gabriel Freud. He moved with his family to St. John's Wood, London in 1933 to escape the rise of Nazism. He became a British citizen in 1939,^[4] having attended Dartington Hall School in Totnes, Devon, and later Bryanston School.

[edit] Early career

Freud briefly studied at the Central School of Art in London then, with greater success, at Cedric Morris' East Anglian School of Painting and Drawing in Dedham, relocated in 1940 at Benton End near Hadleigh. He also attended Goldsmiths, University of London from 1942–3. He served as a merchant seaman in an Atlantic convoy in 1941 before being invalided out of service in 1942. In 1943, Tambimuttu, the Ceylonese editor, commissioned the young artist to illustrate a book of poems by Nicholas Moore entitled "The Glass Tower." It was published the following year by Editions Poetry London and comprised, among other drawings, a stuffed zebra (-cum-unicorn) and a palm tree. Both subjects reappeared in The Painter's Room on display at Freud's first solo exhibition in 1944 at the Alex Reid & Lefevre Gallery. In the summer of 1946, he travelled to Paris before continuing to Greece for several months. In the early fifties Freud was a frequent visitor to Dublin where he would stay with Patrick Swift, sharing Swift's Dublin studio - during this period the artists also worked side by side in London when Swift would visit Freud. He otherwise lived and worked in London for the rest of his life.
Freud formed part of a group of figurative artists that the American artist, Ronald Kitaj, later named "The School of London"^[6] This was more a loose collection of individual artists who knew each other, some intimately, and were working in London at the same time in the figurative style (but during the boom years of abstract painting). The group was led by figures such as Francis Bacon and Lucian Freud, and included artists such as Frank Auerbach, Michael Andrews, Leon Kossoff, Robert Colquhoun, Robert MacBryde, Reginald Gray, and Kitaj himself. Most of these artists, including Freud, had been championed in and contributed to Patrick Swift's X magazine, which ran from 1959–62. He was a visiting tutor at the Slade School of Fine Art of University College London from 1949–54.

[edit] Change in style

Freud's early paintings are often associated with surrealism and depict people, plants and animals in unusual juxtapositions. These works were usually created with thin layers of paint.
From the 1950s he began to work in portraiture, often nudes, to the almost complete exclusion of everything else, employing impasto. With this technique, he would often clean his brush after each stroke. The colours in these paintings are typically muted.
Freud's portraits often depict only the sitter, sometimes sprawled naked on the floor or on a bed or alternatively juxtaposed with something else, as in Girl With a White Dog (1951–52) and Naked Man With Rat (1977–78).^[7] The use of animals in his compositions is widespread, and often features pet and owner. Other examples of portraits with both animals and people in Freud's work include Guy and Speck (1980–81), Eli and David (2005–06) and Double Portrait (1985–86).^[8] He had a special passion for horses, having enjoyed riding at school in Dartington, where he sometimes slept in the stables.^[9] His portraits solely of horses include Grey Gelding (2003), Skewbald Mare (2004), and Mare Eating Hay (2006).
Freud's subjects were often the people in his life; friends, family, fellow painters, lovers, children. He said, "The subject matter is autobiographical, it's all to do with hope and memory and sensuality and involvement, really.^[10] In the 1970s Freud spent 4,000 hours on a series of paintings of his mother, about which art historian Lawrence Gowing observed "it is more than 300 years since a painter showed as directly and as visually his relationship with his mother. And that was Rembrandt."^[11]
In art critic Martin Gayford's 2010 book, Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud, Gayford chronicled the forty days he spent with Lucian Freud while sitting for his portrait. Gayford surmised that Freud sought to capture his model's individuality by, as Gayford named it, his "omnivorous" gaze. Gayford also mentions that his final portrait seemed to “reveal secrets—ageing, ugliness, faults—that I imagine…I am hiding from the world...” – suggesting how sharp and penetrating Freud's gaze is.^[12]

[edit] Later career

Girl with a white dog, 1951 – 1952, Tate Gallery. Portrait of Freud's first wife, Kitty (Kathleen) Garman, the daughter of Jacob Epstein and Kathleen Garman.

"I paint people," Freud said, "not because of what they are like, not exactly in spite of what they are like, but how they happen to be." Freud painted fellow artists, including Frank Auerbach and Francis Bacon. He produced a series of portraits of the performance artist Leigh Bowery, and also painted Henrietta Moraes, a muse to many Soho artists. Towards the end of his life he did a series of paintings of model Kate Moss. Freud was one of the best known British artists working in a representational style, and was shortlisted for the Turner Prize in 1989.^[13]

After Cézanne, 1999 – 2000, National Gallery of Australia.

His painting After Cézanne, which is notable because of its unusual shape, was bought by the National Gallery of Australia for $7.4 million. The top left section of this painting has been 'grafted' on to the main section below, and closer inspection reveals a horizontal line where these two sections were joined.
In 1996, Abbot Hall Art Gallery in Kendal mounted a major exhibition of 27 paintings and thirteen etchings, covering the whole period of Freud's working life to date. The following year the Scottish National Gallery of Modern Art presented "Lucian Freud: Early Works". The exhibition comprised around 30 drawings and paintings done between 1940 and 1945.^[14] This was followed by a large retrospective at Tate Britain in 2002. During a period from May 2000 to December 2001, Freud painted Queen Elizabeth II. There was criticism of this portrayal of the Queen in some sections of the British media. The highest selling tabloid newspaper, The Sun, was particularly condemnatory, describing the portrait as "a travesty".^[15] In 2005 a retrospective of Freud's work was held at the Museo Correr in Venice scheduled to coincide with the Biennale. In late 2007, a collection of Freud's etchings titled "Lucian Freud: The Painter’s Etchings" went on display at the Museum of Modern Art.^[16]
In May 2008, his 1995 portrait Benefits Supervisor Sleeping was sold by auction by Christie's in New York City for $33.6 million, setting a world record for sale value of a painting by a living artist.^[17]
In November 2008, letters written by Freud were obtained by The Independent under the Freedom of Information Act. They detail his bitter dispute with some of the most powerful figures in the art world after he was asked to represent Britain at the 1954 Venice Biennale, the world's leading contemporary art exhibition. The publicity-shy portrait painter locked horns with gallery officials after a selection committee rebuffed his suggestions of works to show in Italy. The article includes a copy of the letter written by Freud to the British Council complaining about the selection process.^[18]

[edit] Working process

Painting from life, Freud was apt to spend a great deal of time with one subject, and demanded the model's presence even while working on subsidiary elements. A nude completed in 2007 required sixteen months of work, with the model posing all but four evenings during that time; with each session averaging five hours, the painting took approximately 2,400 hours to complete.^[19] A rapport with his models was necessary, and while at work, Freud was characterised as "an outstanding raconteur and mimic".^[19] Regarding the difficulty in deciding when a painting is completed, Freud said that "he feels he's finished when he gets the impression he's working on somebody else's painting".^[19]
It was Freud's practice to begin a painting by first drawing in charcoal on the canvas. He then applied paint to a small area of the canvas, and gradually worked outward from that point. For a new sitter, he often started with the head as a means of "getting to know" the person, then painted the rest of the figure, eventually returning to the head as his comprehension of the model deepens.^[19] A section of canvas was intentionally left bare until the painting is finished, as a reminder that the work was in progress.^[19] The finished painting is an accumulation of richly worked layers of pigment, as well as months of intense observation.^[19]

[edit] Personal life

Freud is rumoured to have fathered as many as 40 children^[20] although this number is generally accepted as an exaggeration. After an affair with Lorna Garman, he went on to marry her niece Kitty (real name Kathleen, daughter of sculptor Jacob Epstein and socialite Kathleen Garman) in 1948. After four years and the birth of two daughters, Annie and Annabel, their marriage ended.^[21]
He then began an affair with Lady Caroline Blackwood, a society girl and writer. They married in 1953. The marriage was dissolved in 1959.^[21]
Freud also had children by Bernardine Coverley (fashion designer Bella Freud and writer Esther Freud); Suzy Boyt (five children); and Katherine Margaret McAdam (four children: Paul Freud, Lucy Freud, David Freud and Jane McAdam Freud, who is also an artist).^[22]

[edit] Selected solo exhibitions

• 2003: Museum of Contemporary Art, Los Angeles
• 2004: National Gallery of Scotland, Edinburgh
• 2005: Museo Correr, Venice
• 2006: Acquavella Galleries, New York
• 2007: Irish Museum of Modern Art, Dublin
• 2008: Museum of Modern Art, New York
• 2008: Gemeentemuseum Den Haag
• 2010: Centre Pompidou, Paris

[edit] Notes and references

1. ^ William Grimes, "Lucian Freud, Adept Portraiture Artist, Dies at 88," New York Times obituary, 21 July 2011.
2. ^ "Lucian Freud Bio Killed Amid Much Heavy Breathing", The New York Observer, 14 December, 1997.
3. ^ "Lucian Freud Stripped Bare", The New York Times, December 14, 2007.
4. ^ ^{a b} Spurling, John. "Portrait of the artist as a happy man", The Independent, 13 December 1998. Retrieved 19 June 2010.
5. ^ http://www.counterpunch.org/stclair04052003.html
6. ^ Kitaj's essay in the catalog for “The Human Clay” exhibition, Hayward Gallery, London, 1976
7. ^ "Image 'Naked Man With Rat'"
8. ^ "Image 'Double Portrait'"
9. ^ Gayford, Martin "Freud's Animals", Apollo, 2006-11-01. Retrieved on 2009-06-05.
10. ^ Lucian Freud, British Council, 2009. Retrieved December 18, 2010.
11. ^ "Is Lucian Freud's Relationship with Mother Odd, or Is It Art?" People, 24 April, 1978
12. ^ "Lucian Freud: The painter in his studio", The Economist, 23 September 2010. Retrieved on 28 September 2010
13. ^ Button, Virginia. "The Turner Prize: Twenty Years". Tate Online, 2003. Retrieved on 28 March 2007.
14. ^ Richard Calvocoressi, Lucian Freud: Early Works, Scottish National Gallery of Modern Art, 1997. ISBN 0-903598-66-3
15. ^ "Freud royal portrait divides critics" BBC News (21 December 2001). Retrieved on 26 February 2008.
16. ^ Robert Ayers (18 December 2007). "Curator’s Voice: Starr Figura on Lucian Freud’s Etchings". ARTINFO. Retrieved 23 April 2008.
17. ^ "Freud work sets new world record". BBC News Online. 14 May 2008. Retrieved 14 May 2008.
18. ^ Milmo, Cahal (8 November 2008). "Revealed: young Freud's clash with art establishment – Newly released letters shed light on Venice Biennale feud". London: The Independent. Retrieved 8 November 2008.
19. ^ ^{a b c d e f} Gayford, Martin. Lucian Freud: marathon man, The Telegraph. 22 September, 2007.
20. ^ Freud the Lothario, Simon Edge, The Daily Express, Friday 16 May 2008.
21. ^ ^{a b} Face to face with Freud in: The Sunday Times, dated 22 May 2005
22. ^ Rosie Millard: Portrait of the forgotten children in: The Sunday Times, dated 11 April 2004

[edit] See also

• Freud family

[edit] Further reading

• Calvocoressi, Richard (1997). Early Works: Lucian Freud. Scottish National Gallery of Modern Art. ISBN 0-903598-66-3
• Feaver, William (1996). Lucian Freud: Paintings and Etchings. Abbot Hall Art Gallery. ISBN 0-9503335-7-3
• Feaver, William (2002). Lucian Freud. Tate. ISBN 0-8109-6267-5
• Gowing, Lawrence (1982). Lucian Freud. Thames & Hudson. ISBN 0-500-09154-4
• Gruen, John (1991). The Artist Observed: 28 Interviews with Contemporary Artists. a cappella books. ISBN 1-55652-103-0
• Hughes, Robert (1997). Lucian Freud, revised edition. Thames & Hudson. ISBN 0-500-27535-1
• Gayford, Martin (2010). Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud. Thames & Hudson. ISBN 9780500238752

[edit] External links

• BBC News obituary, 21 July 2011
• Lucian Freuds Memorial Website
• [1] – article on Lucian Freud's crossing of the Atlantic during World War II
• http://www.lucianfreud.info – information and contact details relating to copyright and reproduction
• Lucian Freud in Literal – features images from Freud's work

Wikiquote has a collection of quotations related to: Lucian Freud

• WebMuseum: Lucian Freud – features images of a selection from Freud's work
• Lucian Freud (ArtChive) – includes quotes from the biography by Lawrence Gowing, as well as images of additional artistic works
• 2002 exhibition at Tate Britain including a chronology
• Interior at Paddington (1951), Freud's portrait of his friend, Harry Diamond
• BBC Four Radio Interview Lucian Freud talks to William Feaver on 7 February 1988
• Abbot Hall Exhibition 1996
• Abbot Hall Exhibition Catalogue 1996
• Ten Dreams Galleries
• Essay by Kelly Grovier on Lucian Freud in The Observer 2006
• Lucian Freud Paintings at MuseumSyndicate
• Lucian Freud Controversy 05/12/06
• Charles Finch on Lucian Freud – MOMA: Museum of Modern Art, New York City
• Lucian Freud. Critical analysis
• Interview with Lucian Freud (1988)
• (French) Lucian Freud – Centre Pompidou, Paris
• Lucian Freud: L’Atelier (The Studio) / Centre Pompidou, Paris Video 2010

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