This volume, with more than 400 reproductions, will be the most comprehensive publication to date on Lucian Freud, covering a span of seventy years and including many works not previously reproduced.
The result is a corpus of great works that reveal him to be the premier heir today of Rembrandt, Courbet, and Cezanne.
The book includes not only Freud's paintings but also his sketches, woodcuts, and powerful etchings.
While the bulk of his paintings are female nudes, his cityscapes, plant studies, and interiors, executed in his distinctive muted palette and visible brushwork, are all included.
Freud, who has lived in London ever since his family left Berlin in 1933 when he was ten, has achieved preeminence through his ruthless perception of the human form.
His importance has long been recognized in England, but his present super-celebrity status dates from a retrospective at the Hirshhorn in Washington, D.C., in 1987.
William Feaver, painter and for many years art critic for The Observer, provides a unique account of Freud's preoccupations and achievement.
Startling, moving, profoundly entertaining, the book lives up to Freud's advice to students when getting them to paint self-portraits: "To try and make it the most revealing, telling, and believable object.
Something really shameless, you know."
- Format: Hardback
- Pages: 488 pages, 400 colour and black and white
- Publisher: Rizzoli International Publications
- Publication Date: 25/09/2007
- Category: General arts
- ISBN: 9780847829521
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Review by presto
The book opens with an essay by William Feaver; personal and enlightening it makes fascinating reading; the writer has clearly known the artist for some time. Feaver conveys a clear picture of the artist, his background and training, and his approach to his work. Also included are four conversations between Fever and Lucian Freud: November 1992 (appeared The Observer December 1992), April 1998 (The Observer May 1998), November 2001 (on John Constable) and February 2007. The book concludes with a List of Illustrations, fairly brief Chronology and a Bibliography.This book is illustrated throughout in full-colour including the black and white drawings but not the etchings, which alone are reproduced in black and white half-tone. There are 362 illustrations in the Plates section with many more pictures accompanying the essay.This large format book comes in a very substantial slip-case. The outstanding feature of the book however is the reproduction of the paintings; mostly full-page in size, with many bleed images and several double-page spreads. The work is arranged chronologically with the earliest dating from 1939 up to 2006; almost entirely portraits, figures or groups, there is the occasional still life and a few scenes. An impressive and beautiful book superbly illustrated, it is to be highly recommended.