Pluto's Grave - Lucian Freud
Stampa giclée d'archivio
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Pagamento sicuro
Fatto su ordinazione
Descrizione
A detailed 1950 oil painting by Lucian Freud, capturing the burial site of his pet whippet with precise, textured brushwork.
Lucian Freud painted Pluto's Grave in 1950. It depicts the burial site of his pet whippet, Pluto. The work demonstrates the artist's early, meticulous approach to painting, which differs from the heavier impasto seen in his later career. The surface is composed of small, precise brushstrokes that build up the texture of the earth, decaying leaves, and twigs.
The composition focuses on the small, hand-carved wooden marker bearing the name 'PLUTO'. The surrounding ground is rendered with a palette of ochre, brown, and dark green, capturing the damp, organic quality of the soil. Freud's attention to the physical reality of the scene is absolute. He avoids sentimentality, choosing instead to document the site with clinical observation. The painting reflects his interest in the material world and his ability to find subject matter in the immediate environment of his own life.
This work is a rare example of Freud's focus on a specific, personal narrative outside of his portraiture. The tight control of the brushwork and the muted colour scheme create a sense of stillness. It is a study of texture and light, where the natural debris is treated with the same level of scrutiny as a human subject. The painting remains a significant piece for understanding the transition in Freud's technique during the early 1950s, as he moved away from the linear precision of his youth toward a more tactile, painterly application of pigment.
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Cura e materiali
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- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Pluto's Grave - 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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