David Dawson A Painters Progress A remarkable photobook of the artist Lucien Freud, on one level bijou and styled, but in fact quite remarkably intense and telling in its gaze. LFs delight when regarding the Rembrandt, eyes fascinated and endlessly impressed. His scrutiny of the Van Gogh self portrait out of its frame, he studies it as one who intuitively comprehends the reach within, and the shape and forming that the action that each separate brush stroke performs. Seated in his arm chair, before his Bacon, LF is wry and at ease in his trust of the photographer. Dawsons posthumous picture of the bannister with overcoats and umbrellas speak of Bacons infused presence within the skeletons of Freuds figures, and how LF portrayed his sitters dynamic form from without, while Bacon performed surgery on the canvass. Dawson also reflects LFs grandfather too, into the present, with the stretched empty chaise longue and the stuffed leather upright seat. And then on page 203, how startling that image, LF lies barefoot in fresh white cottton, in the exact same position as his portrait of his mother. Here close to her, he looks so much younger now, gaunt, splendid, long fingers resting uncrouched for once, no longer working with their tool the brush. How well he painted the hands of those he respected, those he admired, those he loved. He is known for the raw blotched and blemished flesh and cover of the many many moths that danced in his bright fierce gaze, but he spoke much too about his subjects when he showed us their hands.
Posted on: Wed, 03 Dec 2014 11:54:08 +0000
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