After Cezanne - Lucian Freud
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Beschreibung
A large-scale figurative work by Lucian Freud, reinterpreting classical themes through his signature approach to anatomy and texture.
Lucian Freud painted After Cezanne in 2000. This large-scale work demonstrates his approach to the human form and spatial arrangement. The composition draws inspiration from Paul Cezanne, specifically referencing the French artist's work, The Afternoon of a Faun. Freud reinterprets the classical subject matter through his own lens, focusing on the physical presence of his models rather than idealised beauty.
The painting features three figures within a sparse, studio-like environment. A woman stands to the left, holding a bowl, while two other figures occupy a bed covered in white fabric. Freud uses a palette of muted earth tones, ochres, and flesh tints to render the skin and the surrounding wooden floorboards. His brushwork is deliberate, building up layers of paint to capture the texture of skin and the weight of the bodies. The perspective is slightly flattened, which directs the viewer's attention to the interaction between the figures and the tactile quality of the bedclothes.
Freud was known for his long painting sessions, often requiring his subjects to sit for hundreds of hours. This process allowed him to observe the subtle shifts in posture and the specific details of human anatomy. In After Cezanne, the figures appear caught in a moment of quiet stillness. The inclusion of the wooden chair and the simple interior setting removes any narrative distraction, keeping the focus on the physical reality of the scene. This work represents a period in Freud's career where he engaged directly with the history of Western art, using established compositions as a framework to explore his own observations of the human condition. The result is a study of form, light, and the physical proximity of bodies in a confined space.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
After Cezanne - Lucian Freud
Artist Biography
Lucian Freud
He was Sigmund Freud's grandson. The family left Berlin for London in 1933, when Lucian was ten. He became a British citizen in 1939. The biographical connection to psychoanalysis is unavoidable and he resisted it throughout his career, though his paintings of naked bodies on beds and sofas, viewed from above in harsh overhead light, invite exactly the clinical reading he rejected.
His early work is tight, linear, almost Pre-Raphaelite in its precision: the portrait of Francis Bacon from 1952, Girl with a White Dog, Hotel Bedroom. The shift came in the late 1950s when he switched from sable brushes to hog-hair, thickened the paint, and began working on a larger scale. The flesh became heavier, more present, more uncomfortable to look at.
He painted everyone the same way. The Queen sat for him (the result was controversial). His studio assistant and bookmaker 'Big Sue' Tilley posed naked on a sofa; the painting sold for GBP33.6 million. His whippets appear repeatedly. He insisted on working from life, never photographs, and never took commissions. People came to him.
He worked every day until a few weeks before his death in 2011, at eighty-eight. His last painting was unfinished on the easel.
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