Lucian Freud Paintings (Revised Edition)

Description

In his highly acclaimed text, Robert Hughes points out that the reality pursued in Freud's paintings goes far beyond naturalism.

It is both startling and disconcerting, producing some of the most powerful and moving visual images to have appeared in the last thirty years. Freud—once dubbed "the Ingres of existentialism"—has almost single-handedly redefined the figurative painting of our time. No other living artist possesses his ability to paint the texture and thinness of skin over flesh, and his distinctive portraits have a haunting quality that makes them impossible to forget. This volume, with over one hundred superb reproductions of his greatest paintings, pays tribute to one of the most original and accomplished artists of the twentieth century. 100+ illustrations

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Lucian Freud Drawings

Description

From his earliest years as a child prodigy, Lucian Freud prided himself on his virtuoso drawing skills. The interplay in his work between paper (for both drawing and etching) and canvas was a defining feature of his creative habits throughout his career, as Freud's foremost scholar and curator, William Feaver, establishes with this masterful overview of Freud's drawing output. The fruit of Feaver's privileged access to Freud's studio, Lucian Freud Drawings includes more than 100 drawings, around half of which have never been exhibited or published, from the 1940s up to the artist's death in July 2011. Examined here are portraits of Freud's mother and father, his children and close friends-among them the painter Francis Bacon and artist Leigh Bowery-as well as landscapes and studies of animals. Spanning more than seven decades, this beautifully produced volume illuminates the very foundations of this master draftsman's oeuvre.
Lucian Freud was born in Germany in 1922, and permanently relocated to London in 1933 during the ascent of the Nazi regime. After seeing brief service during the Second World War, Freud had his first solo exhibition in 1944 at the Alex Reid & Lefevre Gallery in London. Despite exhibiting only occasionally over the course of his career, Freud's 1995 portrait "Benefits Supervisor Sleeping" was sold at auction, at Christie's New York in May 2008, for $33.6 million-setting a world record for sale value of a painting by a living artist. Freud died in London in 2011.

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Lucian Freud Portraits

Description

Portraits were central to the work of Lucian Freud (1922–2011). Working only from life, the artist claimed, "I could never put anything into a picture that wasn't actually there in front of me." This major retrospective catalogue surveys Freud's portraits across the seven decades of his career. Featuring the finest portraits from public and private collections around the world, the book explores the stylistic development and remarkable technical virtuosity of an artist regarded as one of the most innovative figurative painters the medium has known.

Freud's chosen subjects were often his intimates—family members, friends, and artistic colleagues such as Frank Auerbach, Francis Bacon, Leigh Bowery, and David Hockney. Freud was private man who rarely gave interviews, and his thoughts on the complex relationship between artist and sitter and the challenges of painting nudes and self-portraits are published here for the first time, documented in a series of interviews with Michael Auping, conducted between May 2009 and January 2011. An illustrated chronology of the artist's life provides fascinating insights into Freud's background as a grandson of Sigmund Freud, and his unorthodox artistic education.

An essential book for every personal art library, this lavishly illustrated volume celebrates the work and career of an artist who overturned traditional portraiture and offered a new approach to figurative art.

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Lucian Freud

Description

This volume, with more than 400 reproductions, will be the most comprehensive publication to date on Lucian Freud, covering a span of seventy years and including many works not previously reproduced. The result is a corpus of great works that reveal him to be the premier heir today of Rembrandt, Courbet, and Cézanne. The book includes not only Freud’s paintings but also his sketches, woodcuts, and powerful etchings. While the bulk of his paintings are female nudes, his cityscapes, plant studies, and interiors, executed in his distinctive muted palette and visible brushwork, are all included. Freud, who has lived in London ever since his family left Berlin in 1933 when he was ten, has achieved preeminence through his ruthless perception of the human form. His importance has long been recognized in England, but his present super-celebrity status dates from a retrospective at the Hirshhorn in Washington, D.C., in 1987. William Feaver, painter and for many years art critic for The Observer, provides a unique account of Freud’s preoccupations and achievement. Startling, moving, profoundly entertaining, the book lives up to Freud’s advice to students when getting them to paint self-portraits: “To try and make it the most revealing, telling, and believable object. Something really shameless, you know.”

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Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud

Description

One of the most original, enjoyable, and informative publications about art in our time: the history of a portrait by a major artist as seen from the sitter’s point of view.

Lucian Freud, perhaps the world's leading portrait painter, spent seven months painting a portrait of the art critic Martin Gayford. Gayford describes the process chronologically, from the day he arrived for the first sitting through to his meeting with the couple who bought the finished painting, and he vividly conveys what it is like to be on the inside of the process of creating a work of art.

As Freud completes his portrait of Gayford, so the art critic produces his own portrait of the artist, giving a rare insight into Freud’s working practice. Through their wide-ranging conversations, the reader learns not only about Freud’s choice of models, lighting, setting, pose, and colors, but also about his likes and dislikes, his encounters and experiences, and the ways in which he approaches his relationship with each portrait subject. Gayford records Freud’s observations on the work of Michelangelo,

Vermeer, Titian, Chardin, Goya, van Gogh, Mondrian, and his great contemporary Francis Bacon. The book is full of revealing anecdotes about the people Freud has met in the course of his long career, including Max Ernst, Man Ray, Pablo Picasso, Henry Moore, George Orwell, W. H. Auden, Greta Garbo, and his grandfather Sigmund Freud.

Illustrated with photographs of Freud at work and an etching that Freud did of Gayford after the painting was completed, the book also features other paintings by Freud from the 1940s to the present, as well as images by artists discussed by Freud with Gayford. 50 color and 14 black-and-white illustrations

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Lucian Freud: The Painter's Etchings

Description

One of the foremost figurative artists working today, Lucian Freud has redefined portraiture and the nude through his unblinking scrutiny of the human form. Although he is best known as a painter, etching is integral to his practice. This volume accompanies a major Museum of Modern Art exhibition that will present the full scope of Freud's etchings, including some 75 works--from the rare early experiments of the 1940s to the increasingly complex compositions he has created since rediscovering the medium in the early 1980s. Written by exhibition curator Starr Figura, it also includes a selection of paintings and drawings that illuminate the crucial, cross-pollinating relationship between Freud's etchings and his works on canvas.
Freud is not a traditional printmaker: Treating the etching plate like a canvas, he stands the copper upright on an easel. He also typically depicts the same sitters in etchings as in paintings, demarcating their forms through meticulous networks of finely etched lines. Freud's etchings may either precede or follow the execution of paintings, and they are sometimes as large as, or larger than, their related canvases. But with their figures dramatically cropped or isolated against empty backgrounds, they achieve a startling new sense of psychological tension and formal abstraction.

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