Lucian Freud 盧西安·弗洛伊德 British painter 1922-2011

Lucian Freud
盧西安·弗洛伊德
British painter
1922-2011
Lucian Freud was one of the major figurative painters of the 20th century. Working in an uncompromisingly confrontational style, his nude paintings are rendered with true dimensionality, texture, and weight, achieved through his generous application of pigment and expressive mark-making. He would often paint family, friends, and acquaintances, imbuing his portraiture with a distinct intimacy and unique psychological space. Painted under intense direct observation, usually over the course of many sittings, Freud observed of his practice: “The longer you look at an object, the more abstract it becomes and, ironically, the more real.” Born Lucian Michael Freud on December 8, 1922 in Berlin, Germany as the grandson of Sigmund Freud, he moved with his family to London to escape Nazism in his home country in 1933. He studied art at the Central School of Art and Goldsmiths College, befriending Francis Bacon and becoming associated with a group of figurative artists working in London in the late 1940s and 1950s, and gradually achieving widespread success and acclaim. His work has been the subject of numerous solo exhibitions and retrospectives, notably including the National Portrait Gallery in London, the Museo Correr in Venice, and The Museum of Modern Art in New York. He continued to live and work in London, England until his death on July 20, 2011 at the age of 88.
British painter and draughtsman. Freud spent most of his career in Paddington, London, an inner-city area whose seediness is reflected in Freud's often sombre and moody interiors and cityscapes. In the 1940s he was principally interested in drawing, especially the face. He experimented with Surrealism. He was also loosely associated with Neo-Romanticism. He established his own artistic identity, however, in meticulously executed realist works, imbued with a pervasive mood of alienation.
Two important paintings of 1951 established the themes and preoccupations that dominated the rest of Freud's career: Interior in Paddington (Liverpool, Walker A.G.) and Girl with a White Dog (London, Tate). Both paintings demonstrate an eagerness to establish a highly charged situation, in which the artist is free to explore formal and optical problems rather than expressive or interpretative ones.
By the late 1950s brushmarks became spatial as he began to describe the face and body in terms of shape and structure, and often in female nudes the brushstrokes help to suggest shape. Throughout his career Freud's palette remained distinctly muted.
A close relationship with sitters was often important for Freud. His mother sat for an extensive series in the early 1970s after she was widowed, and his daughters Bella and Esther modelled nude, together and individually. Although the human form dominated his output, Freud also executed cityscapes, viewed from his studio window, and obsessively detailed nature studies. The 1980s and early 1990s were marked by increasingly ambitious compositions in terms of both scale and complexity.
1922 - 2011
盧西安·佛洛德（Lucian Freud）表現派畫家，英國最偉大的當代畫家之一，偏好人物油畫與人體油畫。他在1995年創作的畫作《Benefits Supervisor Sleeping》在2008年已創記錄的3,360萬美元被賣出，也是在世畫家畫作的最高記錄。作為二十世紀最偉大的藝術家之一，盧西安·佛洛德堅持畫畫直到他去世之前。儘管在二十世紀，抽象表現主義佔領了整個藝術世界，但是佛洛德一直堅持表現主義繪畫，最終成為英國最偉大的當代畫家之一。
被泰特美術館譽為“20世紀畢卡索之外最偉大的藝術家”的盧西安-佛洛德2011年7月20日因病在倫敦家中去世，享年88歲。
盧西安·佛洛德於1922年出生於德國柏林，父親是奧地利猶太人，恩斯特·路德維希·佛洛德，一位建築師。母親是德國人，露西·布拉希。他是著名心理學家西格蒙德·佛洛德（Sigmund Freud）的孫子，他的兄弟是作家、政治家克萊門特·佛洛德。為了躲避納粹在1933年他隨家人搬到英國，成為英國公民，1939年，曾就讀德文郡的達廷頓霍爾學校，後來就讀于布賴安斯頓學校。1939年佛洛德進入英國聖工會繪畫學校，受業于校長莫里斯門下。
佛洛德的繪畫題材寬泛，並計受到超現實主義的影響，其繪畫較為精緻人微但卻開始具有某種後來的敏感，如他一此靜物植物結合的畫面以及人物肖像《少女與綠葉》（1948）、《女孩和白色的狗》（1951）、《弗蘭西斯·培根）（1952）、《巴廷頓畫室》（1951）。在這些作品的嚴謹精緻中，可以看出畫家受到安格爾、丟勒、荷爾拜因、門采爾等人的影響。 佛洛德的繪畫題材寬泛，並受到超現實主義的影響，他將自己處於孤僻和封閉的狀態，遠離喧囂的國際藝術潮流，更多地向自己領域的縱深開掘。他喜歡畸形而病態的主題。其作品風格粗率、性感而注重繪畫性。
從40年代到80年代，盧西安·佛洛德定居在倫敦，無論作為藝術家還是普通人，佛洛德都被認為是難以相處的。他將自己處於孤僻和封閉的狀態，遠離喧囂的國際藝術潮流，更多地向自己領域的縱深開掘。其繪畫對象從不敘述戲劇性的事件，基本上以室內肖像、裸體肖像為主。這也使他成為一個定型的畫家．而他也就在室內從親近的人身上不厭其煩地刻畫著某種近乎神經質的狀態，他喜歡畸形而病態的主題。其作品風格粗率、性感而注重繪畫性。如《畫家的母親》（1972）、《諾斯》（1978）、《夜之畫像》（1985）、《自畫像》（1985）。他的畫而結構緊縮而有力，其所描繪的胴體通常是繃緊而飽滿。筆觸顯露，有時呈現出無序、粗鄙的狀態。在這點上他的一些作品具有某種表現性的效果。他個喜歡人們過多將注意力集中在色彩蔔，他說：“我不要人們注意色彩，我要的是一種生命的色彩。” 　　
無論是繪畫還是為人，孤僻、封閉的佛洛德一直奉行我行我素，遠離喧囂的潮流，他一直堅持現實主義繪畫，在生命的最後一刻，他仍在畫畫。陳丹青評論他是“最後一位堂吉可德式的大師”。他影響了陳丹青、劉小東等大批中國畫家。

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