The Lucian Freud
retrospective is a rich display of the artist's accomplishment ranging from his earliest
works in the 1940's to the present. For those know Freud as a painter of aggressive,
striking, but often uninviting nudes, this collection displays a greater breadth of
vision. There are the spent nudes, of course, corpulent or emaciated with detailed
genitalia that do not begin (and have no intention) to seduce. But there are also
wonderful botanical pieces, such as a portrait of cyclamens painted in 1964, and portraits
that reveal the soul of their subjects, including many paintings of his mother. All are
introspective, descended in spirit, perhaps, from the work of his grandfather, the
psychoanalyst Sigmund Freud. He paints about essence, not resemblance, yet the
resemblances to figures one recognizes are striking, the most recently completed being the
much touted portrait of David Hockney, no longer a boy, no mischief left in the eyes.
The early pieces are meticulously constructed, each brush stroke
providing definition. The effect is documentary, such as in the view from his studio
window entitled, "Wasteground with Houses," 1970-2. Freud dazzles as a draftsman
but does not distinguish himself in these early works much beyond his technical
virtuosity. Painting at a time that was dominated by the abstract expressionists, he was a
master realist devoted to telling a story. As the painter matured, his strokes coarsened
and loosened, gaining in expressiveness what was lost in the way of meticulous detail. His
palette is somber and the subjects are not joyful; it is his virtuosity and artistry that
are uplifting.
Unlike a typical museum show, the paintings are hung at eye level, or
slightly lower, bringing the viewer into intimate, if uncomfortable, contact with the
subjects. If there is a complaint to register, it is that the description placards are
stacked to the side at the end of each wall, and it often hard to match placard with
painting.
February
12, 2003
- Karen Weinstein