[“Francis Bacon” by LUCIAN FREUD]
NEW YORK TIMES: Mr. Freud, a grandson of Sigmund Freud and a brother of the British television personality Clement Freud, was already an important figure in the small London art world when, in the immediate postwar years, he embarked on a series of portraits that established him as a potent new voice in figurative art. In paintings like “Girl With Roses” (1947-48) and “Girl With a White Dog” (1951-52), he put the pictorial language of traditional European painting in the service of an anti-romantic, confrontational style of portraiture that stripped bare the sitter’s social facade. Ordinary people — many of them his friends — stared wide-eyed from the canvas, vulnerable to the artist’s ruthless inspection. From the late 1950s, when he began using a stiffer brush and moving paint in great swaths around the canvas, Mr. Freud’s nudes took on a new fleshiness and mass. His subjects, pushed to the limit in exhausting extended sessions, day after day, dropped their defenses and opened up. The faces showed fatigue, distress, torpor. The flesh was mottled, lumpy and, in the case of his 1990s portraits of the performance artist Leigh Bowery and the phenomenally obese civil servant Sue Tilley, shockingly abundant. The relationship between sitter and painter, in his work, overturned traditional portraiture. It was “nearer to the classic relationship of the 20th century: that between interrogator and interrogated,” the art critic John Russell wrote in “Private View,” his survey of the London art scene in the 1960s. William Feaver, a British critic who organized a Freud retrospective at Tate Britain in 2002, said: “Freud has generated a life’s worth of genuinely new painting that sits obstinately across the path of those lesser painters who get by on less. He always pressed to extremes, carrying on further than one would think necessary and rarely letting anything go before it became disconcerting.” MORE