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Everybody wants a Rembrandt

Nicholas Penny, 17 March 1983

The Rare Art Traditions 
by Joseph Alsop.
Thames and Hudson, 691 pp., £30, November 1982, 0 500 23359 4
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... or for ‘drooling over fleshy naked women’ with a ‘quite shocking lack of abandon’ (Lucian Freud). This leaves us grateful that the critic makes no attempt to describe what he admires in Schnabel’s pictures. But it is important to note that he makes no attempt. You can’t promote a star in showbiz or sport without some discussion of his ...

Onion-Pilfering

Brian Dillon: Michael Ondaatje, 13 December 2007

Divisadero 
by Michael Ondaatje.
Bloomsbury, 273 pp., £17.99, September 2007, 978 0 7475 8924 2
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... conventional dictum than he imagines. The same might be said of ‘everything is biographical, Lucian Freud says,’ which is also unfair to the painter, given that it sounds, out of context, like an absurd simplification of something his grandfather might have written. At its worst, this tendency becomes quite embarrassing, as when Ondaatje has Anna ...

Sexy Robots

Ian Patterson: ‘Machines Like Me’, 9 May 2019

Machines like Me 
by Ian McEwan.
Cape, 305 pp., £18.99, April 2019, 978 1 78733 166 2
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... a little A-level-style box-ticking about the portrait, his focused look recalling ‘the elderly Lucian Freud’, his younger face changed by the years he spent working with Francis Crick in California in the 1960s by day and hanging out with Thom Gunn and his friends by night. This association of ideas, familiar from magazine profiles, is too neat to ...

Out of the Eater

Jeremy Noel-Tod: Thom Gunn, 6 July 2000

Boss Cupid 
by Thom Gunn.
Faber, 115 pp., £7.99, March 2000, 0 571 20298 5
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... on Cole’) Only one piece, ‘The Artist as an Old Man’, describing a Lucian Freud self-portrait, seems more than throwaway. It ends:     He looks into his own eyes or it might be yours and his attack on the goods repeats the riddle or it might be answers it:      Out of the eater             came forth ...

The Labile Self

Marina Warner: Dressing Up, 5 January 2012

Dressing Up: Cultural Identity in Renaissance Europe 
by Ulinka Rublack.
Oxford, 354 pp., £30, October 2011, 978 0 19 929874 7
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... diptych, he stripped off completely and had himself depicted unsparingly, back and front, as if by Lucian Freud. ‘No one had ever done this before,’ Rublack writes. Schwarz’s youth was already receding; he needed to work on his tone. In the last image of all, made when ‘I was 631/2 years and 25 days old,’ he appears dressed for the funeral of ...

Don’t think about it

Jenny Diski: The Trouble with Sonia Orwell, 25 April 2002

The Girl from the Fiction Department: A Portrait of Sonia Orwell 
by Hilary Spurling.
Hamish Hamilton, 208 pp., £9.99, May 2002, 0 241 14165 6
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... of arty glamour in Fitzrovia. She was the Euston Road Venus to William Coldstream, Victor Pasmore, Lucian Freud and other lovers who painted and adored her youth, her over-compensating fierceness of opinion, her looks and some mysterious sadness that she carried inside. She was an insecure, uneducated girl who glorified men who painted pictures and wrote ...

Nasty Angels

Michael Wood: Javier Marías, 4 May 2023

Tomás Nevinson 
by Javier Marías, translated by Margaret Jull Costa.
Hamish Hamilton, 640 pp., £22, March, 978 0 241 56861 3
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... is it Marías’s taste or Nevinson’s which is expressed in the phrase ‘that sordid artist Lucian Freud’, or in sharing the news that ‘nothing else’ Umberto Eco wrote was ‘as successful as The Name of the Rose’? The whole novel is full of statements that seem like a pastiche of the very idea of saying something, and at one point the ...

Art’ll fix it

John Bayley, 11 October 1990

The Penguin Book of Lies 
edited by Philip Kerr.
Viking, 543 pp., £15.99, October 1990, 0 670 82560 3
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... take unexpected forms. Importunity about truth can be more shameless than a lie. The point about a Lucian Freud nude is not that a real Woman looks like that: it is that the artist masterfully insists that she does. A falseness, not so unlike Hemingway’s, is present in the transaction. Similarly, in the confessional mode of writing, or letting it all ...

Lady Rothermere’s Fan

Mary-Kay Wilmers, 7 November 1985

The Letters of Ann Fleming 
edited by Mark Amory.
Collins, 448 pp., £16.50, October 1985, 0 00 217059 0
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... but gradually the balance shifted towards painters and writers (in the first instance, Lucian Freud, Francis Bacon and Peter Quennell, who was known – someone had to be – as ‘Lady Rothermere’s fan’): Mr Amory cites this as evidence of her capacity to ‘develop’, and however off-putting a notion, it may be true. Rothermere with his ...

Wake up. Foul mood. Detest myself

Ysenda Maxtone Graham: ‘Lost Girls’, 19 December 2019

Lost Girls: Love, War and Literature, 1939-51 
by D.J. Taylor.
Constable, 388 pp., £25, September 2019, 978 1 4721 2686 3
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... very close to poverty [were] inextricably combined’. All four at some point shared a bed with Lucian Freud; at least three of them slept with Arthur Koestler; and two of them married Derek Jackson, who had previously been married to Pamela Mitford and would eventually tot up six marriages.Before I go on, I want to mention a paradox that I’d like ...

Painting is terribly difficult

Julian Barnes: Myths about Monet, 14 December 2023

Monet: The Restless Vision 
by Jackie Wullschläger.
Allen Lane, 545 pp., £35, October 2023, 978 0 241 18830 9
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... would demand gifts from an artist whose work he was about to honour with a review – according to Lucian Freud, who knew Sylvester for decades, the expected rate was usually two pieces, which could be small as long as they were choice, for one article.’ This is all very shocking, the more so as it involves critics and curators at the top of their ...

Fancy Dress

Peter Campbell: Millais, Burne-Jones and Leighton, 15 April 1999

Millais: Portraits 
by Peter Funnell and Malcolm Warner.
National Portrait Gallery, 224 pp., £35, February 1999, 1 85514 255 4
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John Everett Millais 
by G.H. Fleming.
Constable, 318 pp., £20, August 1998, 0 09 478560 0
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Edward Burne-Jones: Victorian Artist-Dreamer 
by Stephen Wildman and John Christian.
Abrams, 360 pp., £48, October 1998, 0 8109 6522 4
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Frederic Leighton: Antiquity, Renaissance, Modernity 
edited by Tim Barringer and Elizabeth Prettejohn.
Yale, 332 pp., £40, March 1999, 0 300 07937 0
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... change of style from dry to wet, from small marks to big ones, is not unique or even unusual. Lucian Freud, for example, has changed from thin paint, small brushes and fine detail to thick paint broadly applied. There is a kind of release in this; finicky marks give way to bigger, firmer strokes and painterly paint. It is not necessarily easier, but ...

Selfie with ‘Sunflowers’

Julian Barnes, 30 July 2015

Ever Yours: The Essential Letters 
by Vincent van Gogh, edited by Leo Jansen, Hans Luijten and Nienke Bakker.
Yale, 777 pp., £30, December 2014, 978 0 300 20947 1
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Van Gogh: A Power Seething 
by Julian Bell.
Amazon, 171 pp., £6.99, January 2015, 978 1 4778 0129 1
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... is sometimes one of influence, more usually one of semi-private conversation across the centuries (Lucian Freud doing versions of Chardin, Hodgkin painting ‘After Corot’). But it also goes beyond that – beyond admiration, beyond style, homage, imitation. Van Gogh, even as he was violently wrenching himself towards a form of painting which still ...

Blame it on his social life

Nicholas Penny: Kenneth Clark, 5 January 2017

Kenneth Clark: Life, Art and ‘Civilisation’ 
by James Stourton.
William Collins, 478 pp., £30, September 2016, 978 0 00 749341 8
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... sculpture. Clark’s enthusiasms, whether for the earliest work by Victor Pasmore or the young Lucian Freud, were never influenced in the slightest by that fear of being slow to greet the latest fashion which has guaranteed academic support for all new brands of contemporary art in recent decades. He was unusual also in believing that the merits of ...

Magical Orange Grove

Anne Diebel: Lowell falls in love again, 11 August 2016

Robert Lowell in Love 
by Jeffrey Meyers.
Massachusetts, 288 pp., £36.50, December 2015, 978 1 62534 186 0
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... parcel Lowell had with him: it was Girl in Bed (1952), a portrait of the 21-year-old Blackwood by Lucian Freud, her first husband. Although, according to Hamilton, Lowell had brought the portrait to New York to be valued, Meyers sees things symbolically: Lowell was ‘unable to decide which woman he wanted to live with and unwilling to let go of ...

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