Lucian Freud's Self-Portrait

Reflection (Self Portrait 1985)
Picture from New Exhibition Catalogue
page 5

I pushed myself to the point of exhaustion at the National Portrait Gallery last night.

I know the rules say it is better to just see a few things and remain rested, than to go to the place of "museum fatigue". But I just couldn't help myself.

One viewing of just a few of these works is not enough.

Take this self-portrait for example.

Just the shadow from Freud's face that rests on his neck is fascinating.  As well, there is no symmetry anywhere.  Do you think that is what gives the eye so much interest?

Along the corridor by the bookstore that is inside of the exhibit are three photographs of Freud taken by David Dawson (his studio assistant and one of his models as well).

One of the photographs only shows Freud's feet behind his easel.  Just beautiful.

Another of Dawson's photographs of Freud has that chiaroscuro lighting that rests not only on half of Freud's body, but as well, on half of the room and showing  how the painting was done -- the cloth hanging from his belt, the brushes in his hand, the look of the studio and even presenting the light that was in the studio and where it was coming from.

How interesting is that?

Freud didn't put the caps back on his tubes of paint when he was finished.  When he went back to that colour, he just broke off the dried pieces and wiped them off onto the wall of the studio.

Soon that wall had a collage of colour, against which he did another portrait.

Eccentricity or genius?

If you have 3 1/2 minutes,  and want a taste of what the show felt like, listen to David Hockney discuss Lucien Freud.

Arta