‘The tension of working can make LF [Lucien Freud] seem very agitated at times. He gestures; he raises his arms in a movement half triumphant, half despairing, like an Italian taxi driver encountering a perplexing configuration of traffic. He mutters to himself. His bouts of concentration are apt to begin with an especially hard stare, followed by a deep sigh. He steps forward and back, and on occasion darts forward and springs away from the canvas, bringing his mouth down in a one-sided grimace. Sometimes he touches the picture with a brush like a person making contact with something intensely hot, or charged with electricity. The paint continues to spread across the canvas in tiny, incremental stages’ (Martin Gayford, ‘Man with a Blue Scarf’ 2012). Gayford’s narrative on sitting for a portrait by Lucien Freud is a totally fascinating insight into the artist’s psychology and working methods - it’s a book I am reading as slowly as possible - I just want it to go on for ever. Image is a detail from Freud’s Hotel Bedroom 1954 currently on show @royalacademyarts , a portrait of Freud’s wife at that time, Caroline Blackwood.
#lucienfreud #theselfportraits #royalacademyofarts @martingayford #martingayford #manwithabluescarf #royalacademy #britishpainting #marriageinart #selfportraits #portraitpainting - 12 seconds ago