The Butcher's Daughter - Lucian Freud
Archival giclée
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Description
A 1963 oil portrait by Lucian Freud, capturing the physical presence and anatomical detail of a seated figure with raw, painterly honesty.
Lucian Freud, a central figure in the School of London, produced this portrait in 1963. The work captures a seated female figure, rendered with the artist's characteristic focus on the physical presence of the sitter. Freud avoids idealisation, choosing instead to examine the texture of skin, the weight of the body, and the subtle shifts in tone across the subject's form. His application of paint is deliberate, building up the surface to create a sense of mass and volume that occupies the pictorial space.
The composition is direct and unadorned. The subject sits against a neutral, muted background, which directs the viewer's attention to the anatomical details and the psychological state of the sitter. The lighting is stark, casting shadows that define the contours of the body and the folds of the skin. A white cloth draped over the chair provides a contrast to the warm, fleshy tones of the figure, adding a textural element to the scene.
Freud's approach to portraiture involves a lengthy process of observation. He spent many hours with his subjects, allowing him to capture a sense of intimacy and vulnerability. This painting demonstrates his ability to translate the physical reality of a person into a structured, painterly language. The brushwork is visible, contributing to the tactile quality of the image. By focusing on the specificities of the human form, Freud creates a study that is both grounded in reality and expressive of the individual's presence. This piece remains a clear example of his mid-career style, where his technique became increasingly heavy and sculptural, moving away from the linear precision of his earlier works.
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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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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
The Butcher's Daughter - 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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