Lucian Freud
27th January 2010
Frank Woodgate, art historian and lecturer on modern
art at the Tate Galleries in London
| Click here for photos of the evening! |
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This was the third
in the series of evening lectures arranged by Dorothy at the Grosvenor
Museum Chester. In spite of
the previously difficult weather conditions, a large gathering of NADFAS
members and their friends greatly enjoyed another of Frank Woodgate’s
polished gems.
One of three sons of wealthy German/Jewish
parents who came to Britain in 1933 and grandson of Sigmund, Lucian
Freud was influenced first by the German Movement and by Cedric Morris
of the East Anglian School of Painting and Design. His early painting of
Morris and his first recognised exhibit “The Painter’s Room” provided
evidence of the early thin application of paint and vivid colour. It
contrasts strongly with the increasingly thick impasto layers of
typically muted colour and visible hog's hair brushwork in later work.
It facilitated his fascination with the portrayal of flesh in bulk. From
the outset he showed his talent for line and colour. The grouping of
objects in strange juxtaposition and the inclusion of himself by some
means to suggest personal involvement, or an autobiographical approach
are constants. It could be his shadow, reflection, his paint encrusted
studio wall, a subject reclining on his used paint rags or the city
landscape seen from his studio window in the background.
Self portraits throughout his life recorded his developing style
as well as his own ageing personality and are amongst the most
unconventional pieces.
Freud’s most
successful works are of the people in his life; his several wives,
lovers and children, friends and fellow painters like Francis Bacon.
“The Benefits Supervisor” sold by auction for over thirty three
million dollars, was a world record by a living artist.
Portraits of the Queen and other commissioned pictures have been
less well received.
Many portraits, especially those of his wives and lovers, seem to
reflect the depth of emotion which one might imagine in a close
relationship with such an artist. The personal involvement, sensuality
and not a little angst are evident.
Freud’s models tolerate seven hour sessions, often in
uncomfortable sprawling positions.
The subject receives the same degree of care and attention as the
plant, the pet, the wall and other parts of the composition. It was
heartening to hear that a sitting would end with a sumptuous meal of
game and champagne.
“I paint people,”
Freud is reputed to have said, “not because of what they are like, not
exactly in spite of what they are like, but how they happen to be”.
Freud is said to have “painted to astonish, disturb, seduce and
convince”. The talk
communicated all this and more. Frank Woodgate’s depth of knowledge,
familiarity with his subject and engaging humorous style made it a
delightful evening. Obviously there is a very large body of work
including cityscapes, plant studies, interiors and of course more
portraits yet to be seen and a great deal to read but we learned enough
in one very enjoyable hour to stimulate further interest.
Thank you so very
much Dorothy, for arranging it. Norma King