Lucian Freud (2)









Lucian Freud, who was handsome and charismatic, is said to have had encounters with many women, and it's believed that he fathered as many as 30 children (though he officially recognized 14 of them).

The subjects of Freud's paintings were often those closest to him: his own children, lovers, friends, and anyone who piqued his interest. His working style was slow, taking an immense amount of time to observe details meticulously. Historically in art, portraits of women were often painted to make them look younger and hide their flaws. However, Freud deliberately painted them in an unflattering manner. Due to the artist's relentless observation, the models often appeared older, with every minor flaw illuminated. It was often said by the models, "Why does Lucian paint me so unattractively?"

Lucian Freud's grandfather was the founder of psychoanalysis, Sigmund Freud. Just as Sigmund made his patients sit on a bed or couch to delve into truths they were reluctant to reveal, Lucian also placed his models on beds or sofas, keenly observing and depicting the outward characteristics stemming from their inner selves.

The woman lying on her back in this painting is Freud's biological daughter, Annabel. Her reclining figure, seemingly in a deep, hibernation-like sleep, looks as if she is in pain and seeking psychological relief. Her closed-off inner world is brilliantly expressed in the shadows of the blue gown covering her rounded back. The only exposed part of her - the rough, almost masculine soles of her feet - appear as foreign objects revealing her inner self.

Freud often painted what might be considered secondary features, like hands or feet, with as much importance as primary ones, like the face. In this painting, with no evident main subject, the soles of the feet take center stage.

Breaking the conventional hierarchy in art, where certain elements take precedence over others, was a hallmark of Freud's style.