HEAD AND SHOULDERS OF A GIRL, 1990
LUCIAN FREUD
etching on Somerset satin white paper
78.0 x 63.0 cm
signed with initials and numbered below image
printed by Marc Balakjian at Studio Prints, London
published by James Kirkman, London and Brooke Alexander, New York
James Kirkman, London
Rex Irwin Art Dealer, Sydney
Darren Knight Gallery, Melbourne
Private collection, Sydney, acquired from the above in 1996
Lucian Freud, Art Gallery of New South Wales, Sydney, 31 October – 10 January 1992; Art Gallery of Western Australia, Perth, 1 February – 14 March 1993, cat. 66
Lucian Freud 'Etchings 1946–2004', Scottish National Gallery, Edinburgh, 2 April – 13 June 2004, and touring to; Abbot Hall Art Gallery, Kendal; The Fitzwilliam Museum, Cambridge; Waterhall Gallery, Birmingham Museum and Art Gallery, Birmingham (another example)
Lucian Freud, The Painter's Etchings, Museum of Modern Art, New York, 16 December 2007 – 10 March 2008, cat. 52 (another example)
Lucian Freud, The British Council & Art Gallery of New South Wales, Sydney, 1992, cat. 66, p. 85 (illus.)
Hartley, C., The Etchings of Lucian Freud: A Catalogue Raissoné, 1946–1995, Marlborough Graphics and Ceribelli, London, 1995, cat. 41 (illus., another example)
Figura, S., Lucian Freud, The Painter's Etchings, Museum of Modern Art, New York, 2007, pp. 63, 136 (illus. pl. 32, another example)
This large scale etching, virtually life size, was made by Lucian Freud after his major painting of the same subject titled Lying by the Rags, 1988-89 which is in the Astrup Fearnley Collection, Oslo, Norway. The sitter, artist Sophie de Stempel, is the subject of another major, related work, Standing by the Rags, 1989 - 90 in the collection of Tate Modern, London. In both paintings, the full length model stands or lies before a large mound of cloths, her body, the cloth and the floorboards all painted with equally piercing scrutiny. The oil paintings are quintessential examples of Freud's 'Naked Portraits' a term he purposely uses to avoid any sense of an idealistic notion of a contrived human beauty.
As Starr Figura writes in her insightful catalogue, which accompanied a major retrospective of the artist's etchings in 2007 at the Museum of Modern Art, New York:
'Commonly viewed from an unusual vantage point, the angular limbs, foreshortened faces, and tortured body language rebuke the tradition of the ideal nude. Indeed, by deliberately referring to his depictions as 'Naked Portraits', Freud consciously distinguishes his works from venerable 'nudes' and emphasises the rawness that is central to his vision. The location is always Freud's studio - a reference to the artist's own world rather than any mythical or symbolic setting. "I am only interested in painting the actual person; in doing a painting of them, not in using them to some ulterior end of art", he has stated. "For me, to use someone doing something not native to them would be wrong." Ignoring whatever taboos regarding the body that may persist today, Freud means for his works to "astonish, disturb, seduce, convince." Their strangeness comes, as Robert Hughes has written, 'in large part from their making: they bypass decorum while fiercely preserving respect'.1
When creating this etching Freud focused in, removing the padding of the cloths and the surface of the floorboards to construct a powerful composition, suspending the upper torso, head and shoulders of the model. Unlike the printmaking method of many other artists, Freud's etchings are neither preparatory works for canvases nor are they merely reproductions of existing images. Instead, as Figura points out, '...etching is a medium that parallels painting for Freud, an extension of the habit of revisiting sitters that he has always enjoyed in painting. But shifting his means from painterly to linear involves an adjustment not just in manner of execution, but also in conception and perception, a refreshing shift that, he has said, forces him to concentrate more on form than on surface.'2
1. Figura, S., Lucian Freud: The Painter's Etchings, Museum of Modern Art, New York, 2007, pp. 23-24
2. Ibid., p. 14
DAMIAN HACKETT