Ramona: Vandals, Let's Talk
Wattree: Political Employees as Aristocrats
Cardwell: Stepford Christianity
Self Portrait (~1986), above.
Factory In London (1972), above.
Update: That's funny. I've always seen it spelled Lucien, but now it is Lucian.
5. Freud had an almost visceral hatred of almost all art of the Renaissance. It makes sense: the Renaissance was the period, above all, during which man was celebrated as the crown of creation. Freud’s belief was the opposite: man, he seems to say, must never forget the fact that he is deteriorating matter. It was Kant who first observed that an aesthetic encounter can be one that is mixed with pain, and Freud proves it eloquently.
6. Freud disliked art that looks too much like art. On sitting for a Freud portrait the art critic Martin Gayford remembered that “the awkwardness that critics complain of in LF’s work is deliberate.” A 1950 painting in the Tate Britain called ‘Boy Smoking’, for example, is not a realistic portrait. The eyes are glassy and hollow, the face so flat you could tear it. But the flatness here tells us something of the boy’s circumstances: it is as if a hard expression has been ironed in place on his youthful skin. Freud met the boy, named Charles Lumley, when he and his brother were “in the act of breaking into his studio”. Freud was living in Paddington, a working-class area at the time, and he befriended some of his criminal neighbours