John Deakin - Lucian Freud
Archival giclée
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Description
A striking portrait of photographer John Deakin by Lucian Freud, featuring heavy impasto brushwork and a raw, psychological intensity.
This portrait depicts the photographer John Deakin, a frequent subject for Lucian Freud during the mid-twentieth century. Freud, a central figure in the School of London, was known for his rigorous approach to portraiture, often requiring his subjects to sit for extended periods. This specific work captures Deakin with a direct, unflinching gaze, rendered through thick, impasto brushwork that defines the contours of his face.
The application of paint is heavy and deliberate, creating a textured surface that emphasises the physical presence of the sitter. Freud uses a palette dominated by warm, flesh-toned ochres, reds, and oranges, which contrast against the darker, muted tones of the clothing and the neutral background. The anatomy of the face, particularly the ears and the structure of the nose, is exaggerated to convey a sense of psychological weight rather than mere physical likeness.
Deakin was a complex figure within the Soho art scene, and Freud’s depiction reflects this familiarity. The artist avoids idealisation, choosing instead to focus on the weathered textures of the skin and the intensity of the expression. By stripping away extraneous detail, Freud directs the viewer to the raw materiality of the subject. The composition is tight, focusing entirely on the head and shoulders, which forces an intimate engagement between the viewer and the subject. This work is representative of Freud's mature style, where the paint itself becomes a vehicle for exploring the human condition, stripped of artifice and presented with stark honesty.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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
John Deakin - 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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