Sabastian Smee and Michael Auping discuss artist Lucian Freud with Tyler Green.
Asked how American's might relate to Freud's work, Auping comments: "Freud doesn't follow a modernist narrative. American art really was the great tail end of the modernist narrative… Freud doesn't fit that narrative at all. He's working in a genre that's the most ancient genre, portraiture, and the Egyptians did portraits. So when Williem de Kooning is painting his Woman I and then moving from Woman I into abstract landscapes, Freud is looking at a book of Egyptian face paintings and carvings and then he's beginning to make these very realistic portraits of heads that partly come out of his interest in Egyptian portraiture, but also an intense interest in Durer, and Durer's sense of detail… So there's this odd combination of minimalism and intense realism..."
One year after the death of painter Lucian Freud - a year filled with exhibitions and tributes - Julian Cosma considers Freud's legacy.
Cosma writes: "There is an unsavory but persistent question that hangs around the neck of Freud's legacy: would he have been as renowned if his grandfather what not founded modern day psychoanalysis? Questions like this are inevitable, however, they come with there own pregnant version of an uncertainty principle. One could never give a dispassionate answer. However, it would not be impertinent to suggest that between Freud fils and Freud grand-père, a plausible case could be for, if not parity, at least a recognition that more penetrating insight was not necessarily gained from the patients laying on the Viennese sofa. Sometimes, it was on the deliciously ratty maroon divan, in London, where the greatest creations of the Freudian came into fruition."
McKenzie writes: "One is struck first by the remarkable virtuosity of the young artist from the early works on show. The unadorned subject, animal or human, where attention to detail is truly remarkable, creates an immediacy, intimacy and wonderment for life. Curiosity marks his endless activity in charcoal, conté, pencil, pen and ink, and later his marvellous etchings – 70 in all."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.