Foreword by Alain Seban. Preface by Alfred Pacquement. Introduction by Cécile Debray. Text by Éric Darragon, Jean Clair, Laurence des Cars, Philippe Comar, Richard Shiff, Cécile Debray, Elsa Urtizverea.
Hbk, 9.25 x 11.75 in. / 256 pgs / 201 color / 43 bw. | 5/31/2010 | Not available ISBN 9783777426914 | $65.00
Published by Royal Academy of Arts. Text by David Dawson, Joseph Koerner, Jasper Sharp, Sebastian Smee.
The artist stripped bare by himself: Lucian Freud’s self-portraits redefine the genre
In 1964 Lucian Freud set his students at the Norwich College of Art an assignment: to paint naked self-portraits and to make them “revealing, telling, believable ... really shameless.” It was advice that the artist was often to follow himself. Visceral, unflinching and often nude, Freud’s self-portraits chart his biography and give us an insight into the development of his style.
These paintings provide the viewer with a constant reminder of the artist’s overwhelming presence, whether he is confronting the viewer directly or only present as a shadow or in a reflection. Freud’s exploration of the self-portrait is unexpected and wide-ranging. In this volume, essays by leading authorities, including those who knew him, explore Freud’s life and work, and analyze the importance of self-portraiture in his practice.
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 World War II, 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.
Published by Hatje Cantz. Foreword by Gereon Sievernich. Introduction by Mary Rozell. Text by Richard Cork, Anders Kold.
The art of Lucian Freud (1922–2011) is not easy on viewers, confronted as they are with harshly depicted figures in a vulnerable state of nudity.
Grandchild to Sigmund Freud, the painter often subjected his models to lengthy sessions of posing, creating glimpses into the psyches of those he portrayed.
The UBS Art Collection contains the majority of etchings from Freud’s last phase, as well as one watercolor and two paintings—a total of 54 works of the highest quality. At once delicate and bold in conception, Freud’s etchings challenge viewers with their candor. The fact that the exhibition is held in Berlin’s Martin-Gropius-Bau is of particular significance, as the city was Freud’s birthplace, from which he was forced to flee with his parents in 1933. With the help of the UBS Art Collection, the artist now returns home.
Published by Louisiana Museum of Modern Art. Edited by Michael Juul Holm, Anders Kold, Stephen McCoubrey. Preface by Stephen McCoubrey. Foreword by Poul Erik Třjner. Text by Anders Kold, Richard Cork.
This catalogue focuses on the artist’s graphic production from the period after 1982 with works from the UBS Art Collection. Freud’s (1922–2011) portraits—often of the same subjects he painted—manage to encompass his own psyche, the models’ responses and our own reactions. "My work," he said, "is purely autobiographical. It is about myself and my surroundings." In an etching, the subject is scored into a metal plate covered with a wax mixture, which, after immersion in an acid bath, exposes the scorings, which are left as black lines in the finished print. Readers get even closer access to this involved and nontraditional printmaking process, as the volume is supplemented with ten stages of a print from a private collection in England.
Published by Blain|Southern and Acquavella Galleries. Text by William Feaver, Mark Rosenthal.
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.
PUBLISHER Blain|Southern and Acquavella Galleries
BOOK FORMAT Clth, 11.75 x 11 in. / 256 pgs / 110 color.
PUBLISHING STATUS Pub Date 4/30/2012 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 19
PRODUCT DETAILS ISBN 9780956990426TRADE List Price: $55.00 CDN $65.00
Published by Hirmer Verlag. Foreword by Alain Seban. Preface by Alfred Pacquement. Introduction by Cécile Debray. Text by Éric Darragon, Jean Clair, Laurence des Cars, Philippe Comar, Richard Shiff, Cécile Debray, Elsa Urtizverea.
One of the greatest living painters and portraitists, Lucian Freud (born 1922) brings a powerfully obsessive scrutiny to bear upon his subjects. "I want the painting to be flesh," Freud has avowed, and through this aspiration he achieves almost devastatingly unsentimental and revelatory portraits of his sitters, as he translates the act of scrutiny into strokes of paint. Like the studio of his friend Francis Bacon, Freud's own studio has attained its own intensity as the site of his one-on-one encounters, and as a backdrop or stage in his paintings, and the atmosphere of his interiors, and in the light in them, are among his paintings' most pungent qualities. (One of his earliest canvases, from 1944, is titled "The Painter's Room.") Accompanying the critically acclaimed spring 2010 Pompidou retrospective, this mammoth survey posits Freud's studio as the decisive stage for his art, and tracks his career in over 200 color illustrations of paintings, graphic works and photographs. Included here are his large interiors, his nudes and variations on portraits by earlier masters, his famous series of self-portraits and imposing portraits of sitters such as Leigh Bowery and substantial photographic documentation of the studio. Lucian Freud: The Studio is the essential book on the artist. Grandson of Sigmund Freud, 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.
PUBLISHER Hirmer Verlag
BOOK FORMAT Hardcover, 9.25 x 11.75 in. / 256 pgs / 201 color / 43 bw.
PUBLISHING STATUS Pub Date 5/31/2010 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 19
PRODUCT DETAILS ISBN 9783777426914TRADE List Price: $65.00 CDN $75.00
Published by The Museum of Modern Art, New York. Text by Starr Figura.
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.