Naked Girl Asleep II - Lucian Freud
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Descrizione
A 1968 oil painting by Lucian Freud, capturing a figure in repose with the artist's signature focus on the raw materiality of the human form.
Lucian Freud, a central figure in the School of London, produced Naked Girl Asleep II in 1968. This work demonstrates his characteristic approach to the human form, where the subject is rendered with an uncompromising focus on physical texture and weight. Freud spent long periods observing his sitters, allowing him to capture the specific topography of skin, muscle, and bone.
The composition presents the figure in a state of total repose. The subject lies across a rumpled surface, her limbs arranged in a natural, unposed manner. Freud employs a palette of ochres, earthy browns, and muted greens to model the body. The paint application is thick and deliberate, creating a tactile surface that mirrors the unevenness of the skin. Unlike the idealised nudes of classical tradition, this painting prioritises the raw reality of the individual.
Freud avoids sentimentality in his depiction. The lighting is flat, which prevents the figure from receding into the background, instead forcing the viewer to confront the physical presence of the sitter. The brushwork is visible, recording the artist's process of observation and correction. This painting reflects the artist's interest in the psychological weight of the body, treating the human form as a landscape of personal history. By removing the subject from a specific narrative context, Freud directs attention entirely to the materiality of the flesh and the vulnerability inherent in sleep. The work remains a primary example of his mid-career style, where he moved away from the linear precision of his earlier works toward a more painterly, sculptural application of pigment.
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Naked Girl Asleep II - 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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