- Tapa dura: 144 páginas
- Editor: The Museum of Modern Art, New York; Edición: 01 (26 de noviembre de 2007)
- Idioma: Inglés
- ISBN-10: 087070706X
- ISBN-13: 978-0870707063
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº507.699 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
Lucian Freud: The Painter's Etchings (Inglés) Tapa dura – 26 nov 2007
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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. Lucian Freud: The Painters Etchings accompanies an exhibition that will present the full scope of Freuds etchings, including some 75 works, from the rare early experiments in the 1940s to the increasingly complex compositions he has created since rediscovering the medium in the early 1980s. The catalogue will also include a selection of paintings and drawings, illluminating the crucial, cross-pollinating relationship between Freuds etchings and his paintings.
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The exhibition this book honors was organized around the themes that are central to Freud's oeuvre, including, most prominently, the works that he called "Naked Portraits" and "Portrait Heads," as well as other subjects that he occasionally turned to, such as dogs and views of the garden behind his house. Within each gallery, etchings, paintings, and drawings are paired or grouped to underscore Freud's long-term fascination with particular subjects or sitters, to highlight his intense preoccupation with the physical properties of his different mediums, and to suggest how the mediums of painting and etching nourish and inform one another in Freud's practice. Among the individual sitters who appear in more than one work within the exhibition are Freud's mother Lucie, his daughter Bella, performance artist Leigh Bowery, and the British lawyer and political advisor, Arnold Goodman.
Freud often described his work as autobiographical, stating in 1974: "It is about myself and my surroundings. It is an attempt at a record. I work from the people that interest me and that I care about, in rooms that I live in and know. I use the people to invent my pictures with, and I can work more freely when they are there." Often awkward and anything but idealized, his works reflect his belief that art should be based on observable reality--and for Freud reality was disturbing. His etchings and paintings depict the people in his life, mostly family members and friends who, once they've agreed to participate, come for several hours on a regular, sometimes near-daily basis to sit for him. Freud was known as a very slow worker. Each painting took from several months to more than a year to complete, and each etching also typically occupies months of the artist's time. The finished works bear the evidence of progressive revision and reinforcement.
Contrary to possible assumptions, Freud's etchings sometimes preceded rather than followed the execution of related paintings. When etching, Freud always worked directly from his models and uses variously bunched, feathered, and hatched lines to bring their individual features into relief. Pared down to linear essentials and depicting figures cropped or isolated against empty backgrounds, Freud's etchings achieved a startling sense of psychological tension and formal abstraction. Starr has created an indispensible thorough probing into the art of etching as practiced by Lucian Freud. Grady Harp, May 12