THERE ARE SOME ARTISTS WHO ARE HOUSEHOLD NAMES AND LUCIAN FREUD IS ONE OF THE QUINTESSENTIAL HOUSEHOLD 
NAMES IN TERMS OF FIGURE PAINTERS HIS STUDIO ASSISTANT WROTE A BIOGRAPHY ABOUT WHERE I LEARNED HOW TO SAY HIS 
NAME LUCIAN AND HE'S ONE OF THOSE ARTISTS TO OTHER ARTISTS TALK ABOUT A LOT AND HE'S ONE OF THE ARTISTS THAT I ADMIRE 
AND WHOSE ART I REFERRED TO AND YOU KNOW I WOULD LOVE TO BUY THE CAN'T AFFORD IT SO THIS THESE ARE SOME OF THE 
THINGS THAT YOU SHOULD KNOW ABOUT HIM ARTIST PROBABLY THE MOST IMPORTANT THING ABOUT FREUD'S WORK IS THAT IT 
LOOKS BEAUTIFUL AND WOULD FEEL BEAUTIFUL IF YOU WERE ABLE TO TOUCH IT SO LET'S START WITH HOW IT LOOKS AND ITS 
TEXTURE IN TERMS OF HOW THEY LOOK THE FIRST THING THAT APPEALS TO MOST PEOPLE IS THE FORM HE PAINTS IN A VERY REALISTIC 
WAY HOWEVER HE DISTORTS THE ANATOMY A LITTLE BIT AND THESE DISTORTIONS IN FREUD'S PAINTINGS SOME PEOPLE FIND A 
LITTLE BIT DISTURBING I FIND THEM REALLY BEAUTIFUL IN SOME INSTANCES HE EXAGGERATES FEATURES IN THE FACE OF 
SPECIAL PAINTING WOMEN TO A GROTESQUE LEVEL IT'S ALMOST LIKE FINDING SOMETHING CREEPY OR GROTESQUE AND UGLY AND IT 
BECOMES BEAUTIFUL SORT OF LIKE GOTH ROCKERS SOMETIMES FOR EXAMPLE THEIR ARE SOME PHOTOGRAPHERS FROM THE 
WPA ONE OF THEM NAMED DORETHEA LANGE
IF YOU LOOK AT HER PHOTOS THE PEOPLE ARE WORN OUT THEY'RE UGLY BUT THERE ALSO BEAUTIFUL AND 
THE PHOTOS ARE KIND OF CARICATURES OF THESE PEOPLE THE WAY IN WHICH SHE RENDERED THEM AND TOOK PHOTOS OF 
THEM AND EVEN HOW SHE DEVELOPED PHOTOGRAPHS WITH THESE SHADES OF GRAY IN THE BLACK AND WHITE 
PHOTOGRAPHY REALLY MAKES THEM VERY BEAUTIFUL TO US
SO I GUESS YOU COULD SAY THE SAME IS TRUE ABOUT FREUD'S WORK HE EXAGGERATES STUFF LIKE EYES  AND HE 
GETS INTO THE ANATOMY THE BONY PROTUBERANCES OF AND KNEES AS WELL AS THE RIBS AND LEGS ON SOMETIMES HE 
PAINTS ALMOST DISGUSTING OVERWEIGHT PEOPLE. HIS DRAWING IS A SORT OF CARICATURED IT'S AN EXAGGERATION AND IT'S 
A LITTLE BIT FRIGHTENING IN THE SAME WAY THAT WE KIND OF ENJOY HORROR MOVIES OR GOTHIC NOVELS. IT'S ALSO BEAUTIFUL IN  
THAT WAY TOO. SOME PEOPLE LIKE CREEPY THE OTHER THING HE KIND OF EXPERIMENTS WITH BUT IS ALSO A LITTLE BIT OF CREEPY IS 
IS SKIN TONE AND ITS COLOR IT'S KIND OF FUNNY BUT THE SKIN TONE IN FREUD'S PAINTING 
 LOOKS A LOT LIKE HOW THE COLOR IN 
SOME OF THE ENGLISH MOVIES LOOKS WHEN THEY'RE PORTRAYING HOW GRAY IT IS IN ENGLAND. EVEN THE WARMER TONES 
THAT FREUD DEPICTS IN THE FLESH TONES. HE SORT OF INSERTS COMPLEMENTARY COLORS LIKE GRAY OR BLUE ESPECIALLY IN 
THE SHADOWS. HE TAKES THE ORANGES DOWN A NOTCH AND SO THEY ARE NOT HIS ORANGE OR PINK IS AS REALISTIC AS SOME 
OTHER PAINTERS FOR INSTANCE JOHN SINGER SARGENT SOME OF THE FLESH TONES EVEN LOOK LITTLE BIT
GREEN OR SICK LOOKING. AND I THINK HE 
PAINTED USING SOME BURNT UMBER AND SOME BLACK
I HAVEN'T REALLY RESEARCHED HIS PALETTE BUT I KNOW HE YOU SOMETHING CALLED CREMNITZ WHITE 
AND THE FLESH IN FREUD'S VERSIONS 
OF SKIN COLOR LOOK A LITTLE DAD ZOMBIELIKE BUT THEY DO APPEAR TO US IN THE SAME WAY WE KIND OF GET INTO ZOMBIE 
FLESH IN MOVIES AND IN TELEVISION SHOWS I GUESS SO IT MAKES THEM A LITTLE BIT CHALLENGING TO LOOK AT ITS I DON'T THINK 
MOST PEOPLE WOULD FIND THESE FIGURES FOCUS OF EROTIC ATTENTION BUT I DO THINK  
THAT MOST PEOPLE WOULD FIND THEM KIND OF INTERESTING 
FOR ME I I WISH I COULD TOUCH THESE PAINTINGS THE FIRST TIME I SAW THEM IT WAS ALL ABOUT THE TEXTURE OF THE PAINT 
ONE OF MY FRIENDS DESCRIBE THAT HE  USES BRISTLE BRUSHES. 
HE USES VERY THICK PAINT CALLED IMPOSTOS.
HE LAYS THE PAINT ON LAYER AFTER LAYER HE WORKS SUCCESSIVELY WEEK AFTER WEEK 
TO BUILD UP THE SURFACE OF THE PAINTINGS
AND SOMETIMES THE PAINTING THE PAINT ITSELF IS AN INCH THICK. IF YOU PICKED UP ONE OF THESE PAINTINGS IT WOULD FEEL 
VERY HEAVY. THE CANVASES I'M SURE HAVE A LOT OF HEAVY LEAD OIL PAINT. AND THE REASON WHY SAY 
THIS IT'S THAT ONE OF THE THINGS THAT I RELATE TO FREUD IS THAT EVEN THOUGH HIS PAINTINGS ARE CHALLENGING THEY ARE 
BEAUTIFUL AS WELL AND ONE OF THE THINGS FOR ME IS THAT PAINT IS EXPENSIVE AND IT'S A BIT OF A LUXURY 
AND FREUD WASN'T RICH IN THE BEGINNING OF HIS CAREER OF HIS EARLY PAINTINGS ARE A LITTLE THIN BUT HE WAS A FAMILY THAT 
THAT WAS RICH IN WHAT YOU WOULD CALL CULTURAL CAPITAL 
HIS GRANDFATHER WAS SIGMUND FREUD. HE WAS THE MOST FAMOUS THE PSYCHOLOGIST THAT EVER LIVED
THIS RELATES IN SOME WAY LUCIAN FREUD'S SUCCESS AS A PAINTER AND FREUD 
ACKNOWLEDGED THIS. IN SOME OF HIS BIOS THEY TALK ABOUT THAT A LITTLE BIT HE 
HE ACKNOWLEDGED THAT THE WAY THAT PEOPLE SAW HIM WAS A LITTLE BIT BECAUSE OF THE CULTURAL CAPITAL HE HAD WITH HIS 
GRANDFATHER, SIGMUND FREUD, AND IT DOVETAILS NICELY BECAUSE SOME OF SIGMUND FREUD'S THEORIES ABOUT 
PSYCHOLOGY & LOOKING DEEPER INTO THINGS CAN REFLECT INTO LUCIAN FREUD'S PAINTINGS. THE PAINTINGS ARE THEY WORK IN
THIS ANTI-AESTHETIC THEY DON'T STRUGGLE WITH BEING BEAUTIFUL BECAUSE THEY'RE NOT TRYING TO BE BEAUTIFUL. FREUD'S 
PAINTINGS ARE ALMOST PSYCHOLOGICALLY COMPELLING. WE'RE TRYING TO FIGURE OUT WHY SOMEONE WOULD PAINT THE FIGURE 
THAT WAY. IS THIS HOW THE MODEL LOOKED? OR IS THIS HOW FREUD INTERPRETED THE MODEL ?
I THINK FREUD'S SUCCESS IS SOMEWHAT LINKED TO THE FACT THAT HE COULD AFFORD TO PAINT. HE COULD AFFORD OIL PAINT. HE 
HAD A STUDIO. HE HAD A LITTLE BIT OF MONEY. HE WENT TO THE RIGHT SCHOOLS.  
BUT, HE ALSO GREW UP IN A ROUGH NEIGHBORHOOD.
IN A COUPLE OF HIS BIOS THERE'S THIS DISCUSSION ABOUT HIS RELATION TO GANGSTER CULTURE DURING 
OF THE 1940S AND 50S AND THAT THEY ACTUALLY ENFORCED SOME DEALS THAT PEOPLE DIDN'T WANT TO PAY FOR HIS 
PAINTINGS AND THINGS LIKE THAT. IN HIS BIO THE AUTHOR TALKS A LITTLE BIT KNOW ABOUT HOW. . . HIS STUDIO ASSISTANT 
 TALKS ABOUT HOW FREUD KIND OF USED THAT CULTURAL CAPITAL AND ALSO HIS  REPUTATION AS A 
SLIGHTLY TOUGH GUY TO MAKE HIS CAREER I THINK THAT ALSO IS PART OF THESE PAINTINGS BEING A SLUG YOU IN THE FACE 
THERE'S ALSO IN THE BIO, THIS IS PRETTY FUNNY, A COUPLE OF THINGS ABOUT THE FACT THAT HE WAS A BIT OF SEXUAL ANIMAL.
HE WOULD HAVE MODELS POSING, SOMETIMES IN THE MIDDLE OF THE DAY, AND THEN A GIRLFRIEND WOULD VISIT. 
THEY WENT INTO NEXT ROOM, AND THE MODEL COULD HEAR HIM DOING HIS THING.
HE REALLY PUSHED HIMSELF IN THE LAST PART OF HIS LIFE. IT WAS ONE OF THE MOST PRODUCTIVE PHASES OF HIS LIFE IN 
TERMS OF PAINTING. AND HE REALLY PUSHED HIMSELF BECAUSE HE KNEW THAT THAT WAS THE LAST TIME HE WOULD BE ABLE TO PAINT 
THERE IS EVEN A LITTLE ANECDOTE ABOUT WHEN HE WAS A KID IT WAS EFFORTLESS FOR HIM, BUT, WHEN HE WAS IN HIS 70S 
HE COMPLAINED TO HIS DOCTOR THAT HE DIDN'T FEEL LIKE HE USED TO. THE DOCTOR REPLIED, "LUCIAN YOU'RE AN  
OLD GUY" IT'S WHAT HAPPENS WHEN YOU GET OLD
