Lucian freud paddington

Desde sus primeras obras, que muestran el minucioso detalle de los primitivos flamencos y un cierto aire neorromántico y surrealista, Lucian Freud se posicionó a favor del arte figurativo y en contra de las tendencias abstractas imperantes. Desde entonces, su obra se alimenta de la tensión entre la realidad y la materia, entre lo visual y lo táctil. Su obsesión por el cuerpo humano le ha llevado a reinterpretar el género del retrato de forma original.

La técnica de pinceladas amplias y expresivas puede relacionarse con los retratos de Frans Hals, a quien Freud consideraba un artista moderno por su estilo tosco. Freud, que fue definido -no por casualidad- por William Feaver como un «Paddington Hals dispuesto a la espontaneidad», admiraba la manera firme y directa del maestro holandés de aplicar la pintura con un pincel de pelo de cerdo muy cargado, que acentuaba la acción del artista al cristalizar al modelo en el lienzo.

Reflection (self-portrait)

Through the compilation of more than fifty works, including paintings, drawings, sketches and personal letters, «Lucian Freud: The Self-portraits» presents the painter’s «undaunted and visceral» vision expressed in his self-portraits.

Obsessed from early childhood with artistic drawing, Sigmund Freud’s grandson spent much of his life drawing himself. This fixation required intense periods of observation in front of the mirror that lasted weeks, even months, the curator recounted.

«Freud used mirrors instead of photographs because he wanted to capture ‘life.’ In fact, he would leave mirrors lying around the floor of his studio so that he could capture new angles and portray himself from a different gaze each time,» Sharp explained.

During the early stages of his career, the painter was influenced by surrealism, he painted in pencil, with a very graphic and linear style. «From 1950 onwards, his style changed completely, taking away the importance of drawing and giving it to painting,» he said.

Lucian freud queen elizabeth

Lucian Freud (Berlin, December 8, 1922 – London, July 20, 2011)[2] was a British painter and printmaker, considered to be one of the most important figurative artists in contemporary art.[3] He was born in Berlin in 1922.

After being initiated in surrealism in his youth, he became after the Second World War one of the main representatives of English figurative painting. Specializing in portraits, these usually exclude the expression of feelings and the characters depicted appear under a strong light, and with a very perceptible carnality in the case of the nudes.[4] He was a painter of the portraits.

His parents were the architect Ernst Ludwig Freud (1892-1970) and Lucie («Lux») Brasch (1896-1989). He was the grandson of Sigmund Freud. He had two brothers, the writer and parliamentarian Klemens Raphael Freud (1924) and the publisher Stephan Gabriel Freud (1921). His niece, Emma Freud, is a prominent British radio producer.

Lucian Freud was a close friend of the figurative expressionist painter Francis Bacon, from 1959 until his death in 1992. Lucian’s works, particularly the varied portraits of the mother, are often described as the most important representatives of the English neo-figurative school.[6] The works of Lucian, particularly the varied portraits of the mother, are often described as the most important representatives of the English neo-figurative school.[6

Lucian freud reflection analysis

Lucian Freud’s painting belongs to the Thyssen-Bornemisza Museum in Madrid and comes to Bilbao thanks to the program The Invited Work, sponsored by the Banco Santander Foundation. As for Bacon’s, it belongs to the collection of the Bilbao Fine Arts Museum.

«The whole composition -recalls Paloma Alarcó, curator of Modern Painting at the Thyssen-Bornemisza Museum- is nothing more than a specular reflection, which is reinforced by the plain gray background that makes the touches of light concentrated on the face and hands stand out even more. The image is not clear at first glance, since it is one of the first self-portraits in which Freud experiments with a game of two mirrors, and the viewer is forced to scan the figure upwards with his eyes to meet the artist’s gaze directly.