UK - 2nd page
in addition to Bacon.
Except otherwise stated, all results include the premium.
See also : British Royals Turner Freud Early Freud Hockney Doig Groups Orientalism Oceania Cities Venice Landscape Music and dance
Chronology : 1830-1839 1840-1849 1969 1970-1979 1972 1980-1989 1980 1983 1990-1999 1990 1994 2000-2009 2003
Except otherwise stated, all results include the premium.
See also : British Royals Turner Freud Early Freud Hockney Doig Groups Orientalism Oceania Cities Venice Landscape Music and dance
Chronology : 1830-1839 1840-1849 1969 1970-1979 1972 1980-1989 1980 1983 1990-1999 1990 1994 2000-2009 2003
TURNER
1
1835 Rome from Mount Aventine
2014 SOLD for £ 30.3M by Sotheby's
Turner visited Rome twice, in 1819 and 1828. He was dazzled by that city which was trying to organize its modernity without denying its glorious past. During his first trip, he was concerned about illustration and drew hundreds of sketches of views and monuments. The goal of the second visit was to soak in the atmosphere for producing oils on canvas.
Turner had a friend as difficult as himself in his temper : Hugh Munro of Novar. It was the time of the watercolorist travelers and Munro would have liked to become an artist. Turner tried to help him but the younger man was not skilled. He was to become one of the greatest art collectors of his time.
When Turner returned from Rome, Munro commissioned him with a painting on which the city was to be shown with the greatest topographic truth. Turner reinspected his drawings. The oil on canvas showing the view of Rome from Mount Aventine, 93 x 126 cm, was completed in 1835.
In the morning light, this view is a masterpiece from that period of great maturity of the artist. The blurring by mist above the Tiber is a pre-impressionist feat. The drawing of the urban texture is of high detail all over the huge extent of the city and the animation is nice.
This work could be a pendant with a view from Capitoline hill purchased in 1839 by Munro. Passed in 1878 in the collection of the Earls of Rosebery, both paintings have remained in a fabulous condition. The view from the Capitol was sold for £ 29,7M by Sotheby's on July 7, 2010.
This painting was sold for £ 30.3M from a lower estimate of £ 15M by Sotheby's on December 3, 2014, lot 44. Please watch the video shared by the auction house.
Turner had a friend as difficult as himself in his temper : Hugh Munro of Novar. It was the time of the watercolorist travelers and Munro would have liked to become an artist. Turner tried to help him but the younger man was not skilled. He was to become one of the greatest art collectors of his time.
When Turner returned from Rome, Munro commissioned him with a painting on which the city was to be shown with the greatest topographic truth. Turner reinspected his drawings. The oil on canvas showing the view of Rome from Mount Aventine, 93 x 126 cm, was completed in 1835.
In the morning light, this view is a masterpiece from that period of great maturity of the artist. The blurring by mist above the Tiber is a pre-impressionist feat. The drawing of the urban texture is of high detail all over the huge extent of the city and the animation is nice.
This work could be a pendant with a view from Capitoline hill purchased in 1839 by Munro. Passed in 1878 in the collection of the Earls of Rosebery, both paintings have remained in a fabulous condition. The view from the Capitol was sold for £ 29,7M by Sotheby's on July 7, 2010.
This painting was sold for £ 30.3M from a lower estimate of £ 15M by Sotheby's on December 3, 2014, lot 44. Please watch the video shared by the auction house.
2
1839 Rome from Capitoline Hill
2010 SOLD for £ 29.7M by Sotheby's
Long after his two trips to Rome in 1819 and 1828, the Eternal City has continued to fascinate him. In 1839 he gathers these travel memories to compose a large oil on canvas, 90 x 122 cm.
The artist has placed the easel of his memory at the top of Capitoline Hill. The city lies before him, fully bathed in a wonderful light that enhances the perspective. The foreground is animated with efficiency and discretion by goatherds and peasants.
Do not look for photographic truth in this image. According to the style of that time, the position of the buildings owes more to art than to reality. But it is no longer a capriccio, and ancient and pontifical monuments are finely drawn.
Such a masterpiece on the art market is by itself an event. Its exceptional condition makes it one the most important auction lots of the year. The painting has kept its original freshness and frame. It had previously appeared only once on the art market, in 1878. The Earl of Rosebery paid 4,450 guineas for it, on the occasion of his honeymoon.
It was sold by Sotheby's on July 7, 2010 for £ 29.7M from a lower estimate of £ 12M.
See below the video shared by Sotheby's and the image shared by Wikimedia :
The artist has placed the easel of his memory at the top of Capitoline Hill. The city lies before him, fully bathed in a wonderful light that enhances the perspective. The foreground is animated with efficiency and discretion by goatherds and peasants.
Do not look for photographic truth in this image. According to the style of that time, the position of the buildings owes more to art than to reality. But it is no longer a capriccio, and ancient and pontifical monuments are finely drawn.
Such a masterpiece on the art market is by itself an event. Its exceptional condition makes it one the most important auction lots of the year. The painting has kept its original freshness and frame. It had previously appeared only once on the art market, in 1878. The Earl of Rosebery paid 4,450 guineas for it, on the occasion of his honeymoon.
It was sold by Sotheby's on July 7, 2010 for £ 29.7M from a lower estimate of £ 12M.
See below the video shared by Sotheby's and the image shared by Wikimedia :
3
Giudecca
2006 SOLD for $ 36M by Christie's
Venice had a hard time taming Turner. His first tour of Italy, in 1819, included only a short visit to Venice, which he completely avoided in 1828. Inspired by poets, he conceived his views of Italy and Greece by unleashing his own imagination from sketches brought back by his friends.
Turner had an unlimited confidence in the correctness of his vision. Annoyed by the posthumous influence of Bonington, he exhibited new views of Venice during the summer of 1833 at the Royal Academy, to serve as models of the expression of atmosphere and poetry in painting, without having seen again the City of the Doges. He made his second stay there at the end of the same year and finally considered including Venice in his regular work.
An identical sequence of events took place in 1840, with two views of Venice exhibited at the Royal Academy before his departure for his third and final visit, which lasted two weeks only. This time the ethereal charm of Venice has operated.
In the following years, Turner was making a distinction between the watercolor sketches and the views in larger format which he considered as his finished works, the only ones worthy of being exhibited and sold. His finished views of Switzerland are large watercolors and his finished views of Venice are oils on canvas.
Painted in his studio after his come back, the panoramic views of Venice deserved a larger format than the watercolors. In order not to lose anything in the luminosity and the freshness of the colors, he paints Venice in oil with the same pigments as his watercolors. The pre-impressionist atmosphere also suggests that he had transferred the wet in wet technique of his watercolors onto his canvases, before adding the more realistic narrative drawing of the gondolas.
On April 6, 2006, Christie's sold as lot 97 for $ 36M a view of the Giudecca with La Donna della Salute and San Giorgio. This oil on canvas 61 x 92 cm was prepared by Turner for the 1841 exhibition of the Royal Academy. As often with this artist, the perfection of the composition and the color balance prevail over the topographic reality.
A 24 x 30 cm watercolor showing the Dogana under the new moon was sold for £ 960K by Christie's on July 10, 2014, lot 209. The evanescent clarity may be compared with the atmosphere of the oil on canvas discussed above.
Turner had an unlimited confidence in the correctness of his vision. Annoyed by the posthumous influence of Bonington, he exhibited new views of Venice during the summer of 1833 at the Royal Academy, to serve as models of the expression of atmosphere and poetry in painting, without having seen again the City of the Doges. He made his second stay there at the end of the same year and finally considered including Venice in his regular work.
An identical sequence of events took place in 1840, with two views of Venice exhibited at the Royal Academy before his departure for his third and final visit, which lasted two weeks only. This time the ethereal charm of Venice has operated.
In the following years, Turner was making a distinction between the watercolor sketches and the views in larger format which he considered as his finished works, the only ones worthy of being exhibited and sold. His finished views of Switzerland are large watercolors and his finished views of Venice are oils on canvas.
Painted in his studio after his come back, the panoramic views of Venice deserved a larger format than the watercolors. In order not to lose anything in the luminosity and the freshness of the colors, he paints Venice in oil with the same pigments as his watercolors. The pre-impressionist atmosphere also suggests that he had transferred the wet in wet technique of his watercolors onto his canvases, before adding the more realistic narrative drawing of the gondolas.
On April 6, 2006, Christie's sold as lot 97 for $ 36M a view of the Giudecca with La Donna della Salute and San Giorgio. This oil on canvas 61 x 92 cm was prepared by Turner for the 1841 exhibition of the Royal Academy. As often with this artist, the perfection of the composition and the color balance prevail over the topographic reality.
A 24 x 30 cm watercolor showing the Dogana under the new moon was sold for £ 960K by Christie's on July 10, 2014, lot 209. The evanescent clarity may be compared with the atmosphere of the oil on canvas discussed above.
HOCKNEY
1
1969 Geldzahler and Scott
2019 SOLD for £ 38M by Christie's
Looking for sexual freedom, David Hockney arrives in California in 1964. The easy life nevertheless does not answer his questioning about communication within a couple.
Between 1968 and 1977 he makes double portraits in very large format, 214 x 305 cm. He alternates between homosexual and heterosexual couples and ends the series with his own parents, clearly assessing that his concern is no longer sex but dialogue. The sitters are most often identified in the title and are very recognizable.
Invariably the two characters are distant from each other with a deliberately orthogonal gazing. In this strange intimacy, the painter is an invisible social voyeur.
Installed again in London in 1968, he does not neglect America. The Metropolitan Museum of Art in New York is preparing a major exhibition that will reveal post-war American art to the general public. The curator of this important cultural operation is the highly influential Henry Geldzahler.
Hockney arrives in Geldzahler's living room in Manhattan with his sketchbook, polaroid camera and flu. Back in his studio in London, he paints in 1969 'Henry Geldzahler and Christopher Scott'. This acrylic on canvas was sold for £ 38M by Christie's on March 6, 2019, lot 8.
The two men could not be more dissimilar and yet their life as a couple is sustainable. Robust and confident in himself, Geldzahler is comfortably seated in the middle of a beautiful sofa worthy of the greatest Art Deco collections. On the right, his young partner is standing, dressed in a raincoat too big for him and as stiff as the floor lamp. The scene is located by the skyscrapers beyond the small window.
Between 1968 and 1977 he makes double portraits in very large format, 214 x 305 cm. He alternates between homosexual and heterosexual couples and ends the series with his own parents, clearly assessing that his concern is no longer sex but dialogue. The sitters are most often identified in the title and are very recognizable.
Invariably the two characters are distant from each other with a deliberately orthogonal gazing. In this strange intimacy, the painter is an invisible social voyeur.
Installed again in London in 1968, he does not neglect America. The Metropolitan Museum of Art in New York is preparing a major exhibition that will reveal post-war American art to the general public. The curator of this important cultural operation is the highly influential Henry Geldzahler.
Hockney arrives in Geldzahler's living room in Manhattan with his sketchbook, polaroid camera and flu. Back in his studio in London, he paints in 1969 'Henry Geldzahler and Christopher Scott'. This acrylic on canvas was sold for £ 38M by Christie's on March 6, 2019, lot 8.
The two men could not be more dissimilar and yet their life as a couple is sustainable. Robust and confident in himself, Geldzahler is comfortably seated in the middle of a beautiful sofa worthy of the greatest Art Deco collections. On the right, his young partner is standing, dressed in a raincoat too big for him and as stiff as the floor lamp. The scene is located by the skyscrapers beyond the small window.
2
1972 Portrait of an Artist
2018 SOLD for $ 90M by Christie's
David Hockney reaches his paradise on Earth in 1964. In Los Angeles the sky and the water of the pools are blue in different shades to which the midday sun brings a perfect purity. This atmosphere exacerbates his homosexual sensibility. Peter Schlesinger becomes his lover and muse in 1966.
David sees by chance on the floor of his studio the conjunction of two photographs that can constitute a scene : a swimmer under water and a standing boy watching something in the distance. The relationship between two men has always been one of his favorite themes. He has just found a way to express his affair with Peter.
It is not so easy for this hypersensitive artist. He destroys a first version. The sudden break between the lovers occurs around that time. In the spring of 1972 David leaves with two assistants to take photographs in a house of director Tony Richardson named Le Nid du Duc in the countryside above Saint-Tropez. During the summer of 1969 David and Peter had spent a few happy days at that place.
A photograph of the swimmer suits him. It will not be a self-portrait in the picture. For the properly dressed observer who will be standing up by the pool, he finds in his archives some photographs of the real Peter, as if David now agreed to entrust Peter to an unidentifiable swimmer.
The acrylic on canvas 213 x 305 cm painted in 1972 is titled Portrait of an Artist and subtitled Pool with Two Figures. The swimmer is under water and Peter is at the edge of the pool. Although Peter's gaze is directed towards the swimmer, communication between them is impossible.
In 1974 a biopic titled A Bigger Splash tells the story of the breaking up of David and Peter. David plays his own role. The film incorporates sequences that had been shot during the preparation of the Portrait of an Artist. The mix of emotion and real intimacy makes A Bigger Splash a cult film of the gay communities, to the point of shocking David himself. He will change his mind later.
This painting was sold for $ 90M by Christie's on November 15, 2018, lot 9 C. Please watch the video prepared by the auction house including sequences from the movie.
David sees by chance on the floor of his studio the conjunction of two photographs that can constitute a scene : a swimmer under water and a standing boy watching something in the distance. The relationship between two men has always been one of his favorite themes. He has just found a way to express his affair with Peter.
It is not so easy for this hypersensitive artist. He destroys a first version. The sudden break between the lovers occurs around that time. In the spring of 1972 David leaves with two assistants to take photographs in a house of director Tony Richardson named Le Nid du Duc in the countryside above Saint-Tropez. During the summer of 1969 David and Peter had spent a few happy days at that place.
A photograph of the swimmer suits him. It will not be a self-portrait in the picture. For the properly dressed observer who will be standing up by the pool, he finds in his archives some photographs of the real Peter, as if David now agreed to entrust Peter to an unidentifiable swimmer.
The acrylic on canvas 213 x 305 cm painted in 1972 is titled Portrait of an Artist and subtitled Pool with Two Figures. The swimmer is under water and Peter is at the edge of the pool. Although Peter's gaze is directed towards the swimmer, communication between them is impossible.
In 1974 a biopic titled A Bigger Splash tells the story of the breaking up of David and Peter. David plays his own role. The film incorporates sequences that had been shot during the preparation of the Portrait of an Artist. The mix of emotion and real intimacy makes A Bigger Splash a cult film of the gay communities, to the point of shocking David himself. He will change his mind later.
This painting was sold for $ 90M by Christie's on November 15, 2018, lot 9 C. Please watch the video prepared by the auction house including sequences from the movie.
3
1980 Nichols Canyon
2020 SOLD for $ 41M by Phillips
David Hockney could not do any more without Los Angeles. In 1978 he moves there permanently. The workshop is downside, in the plain of Santa Monica. The residence is up, in the Hollywood Hills. Everyday, morning and evening, his journey passes through Nichols Canyon. The environment is idyllic : swimming pools, palm trees, blue sky, bright colors.
The road is both winding and wide. It was built in 1925 to give the megalopolis a comfortable road escape to the north. David knows all its twists and turns. He drives with musical gestures. The melody he sings compensates for his increasing deafness.
David is not a professional musician. He is a pictorial artist. To express the pleasure of his journey, he paints in 1980 Nichols Canyon, acrylic on canvas 213 x 152 cm, with colors inspired by the vibrant exaggerations of the Fauvistes.
The musical meanders of the road cross all the space. It is a real road : its shortened name, Nichols Cyn Rd, is inscribed like on a road map. The STOP at the place where the road leaves the hills, in the foreground, marks the exit from that paradise. The red dot in the middle of the route symbolizes the artist's Mercedes-Benz.
Nichols Canyon was sold for $ 41M by Phillips on December 7, 2020, lot 10. Please watch the video shared by the auction house.
David had pleasure in communicating in this work his musical style of driving in the hills. Painted ten years later with the same inspiration in a more spectacular perspective, Pacific Coast Highway and Santa Monica, oil on canvas 198 x 305 cm, was sold for $ 28.5M by Sotheby's on May 16, 2018.
The road is both winding and wide. It was built in 1925 to give the megalopolis a comfortable road escape to the north. David knows all its twists and turns. He drives with musical gestures. The melody he sings compensates for his increasing deafness.
David is not a professional musician. He is a pictorial artist. To express the pleasure of his journey, he paints in 1980 Nichols Canyon, acrylic on canvas 213 x 152 cm, with colors inspired by the vibrant exaggerations of the Fauvistes.
The musical meanders of the road cross all the space. It is a real road : its shortened name, Nichols Cyn Rd, is inscribed like on a road map. The STOP at the place where the road leaves the hills, in the foreground, marks the exit from that paradise. The red dot in the middle of the route symbolizes the artist's Mercedes-Benz.
Nichols Canyon was sold for $ 41M by Phillips on December 7, 2020, lot 10. Please watch the video shared by the auction house.
David had pleasure in communicating in this work his musical style of driving in the hills. Painted ten years later with the same inspiration in a more spectacular perspective, Pacific Coast Highway and Santa Monica, oil on canvas 198 x 305 cm, was sold for $ 28.5M by Sotheby's on May 16, 2018.
FREUD
1
1983 After Watteau
2022 SOLD for $ 86M by Christie's
Lucian Freud was keen to confront his art with antique or ancient masterpieces.
In 1981 the renowned collector Baron Hans Heinrich Thyssen-Bornemisza is sitting in Lucian's studio in London for a portrait, achieved in 1982. Behind the head, the artist paints in a fair rendering a half hidden replica of a small fête galante by Watteau recently acquired by the Baron.
The Watteau, titled Pierrot content, features five characters in a garden, four of them seated in a row on a bench. A pretty Columbine is playing mandolin. Lucian will transfer this scene into his own universe in a stand alone picture.
Lucian's oil on canvas, titled Large Interior, W11 (After Watteau) is completed in 1983. It is unprecedented in Lucian Freud's art by its size, 185 x 198 cm, by the staging of more than two characters, and by the fact that the sitters dis not attend together the posing sessions.
It is typical by its very thick impasto and by the fact that Watteau's figures have been replaced by close relatives including his daughter Bella playing Columbine with the mandolin.
The rest of it is Lucian's fancy. The scene is staged in his studio, also referred by the part post code W11 in the title. Watteau's charming high society faces are replaced by unpleasantly concerned figures in creased attire, two of them bare foot.The fountain is now a sink with a running tap. The bench had been recently acquired by Lucian for £ 7.
After Watteau was sold for $ 86M by Christie's on November 9, 2022, lot 34.
In 1981 the renowned collector Baron Hans Heinrich Thyssen-Bornemisza is sitting in Lucian's studio in London for a portrait, achieved in 1982. Behind the head, the artist paints in a fair rendering a half hidden replica of a small fête galante by Watteau recently acquired by the Baron.
The Watteau, titled Pierrot content, features five characters in a garden, four of them seated in a row on a bench. A pretty Columbine is playing mandolin. Lucian will transfer this scene into his own universe in a stand alone picture.
Lucian's oil on canvas, titled Large Interior, W11 (After Watteau) is completed in 1983. It is unprecedented in Lucian Freud's art by its size, 185 x 198 cm, by the staging of more than two characters, and by the fact that the sitters dis not attend together the posing sessions.
It is typical by its very thick impasto and by the fact that Watteau's figures have been replaced by close relatives including his daughter Bella playing Columbine with the mandolin.
The rest of it is Lucian's fancy. The scene is staged in his studio, also referred by the part post code W11 in the title. Watteau's charming high society faces are replaced by unpleasantly concerned figures in creased attire, two of them bare foot.The fountain is now a sink with a running tap. The bench had been recently acquired by Lucian for £ 7.
After Watteau was sold for $ 86M by Christie's on November 9, 2022, lot 34.
2
1994 Benefits Supervisor Resting
2015 SOLD for $ 56M by Christie's
Relying on his knowledge of art history, Lucian Freud is not like everyone else. His considerations on others are not based on the expression of faces or attitudes but on the smallest details of entirely naked bodies, male and female, which he observes endlessly like a zoologist who has to describe a rare specimen.
Leigh Bowery has been one of his male models since 1988. Leigh is a post-punk dancer, stylist and creator of night clubs. He outrageously exhibits his homosexuality with exuberant make-up, high heels and latex body tights.
In 1990 Leigh invites Lucian to meet Sue Tilley who is benefits supervisor in an employment agency and cashier of one of his clubs in Piccadilly. Sue is 33 years old and weighs about 137 kg. She is an interesting specimen : Lucian considers that her flesh without muscle has generated an unusual texture of the skin, of which he observes all the folds and shadows. In real life her obesity is less visible because the body is held by her clothing.
The first painting had been done in 1993. Sue was lying naked on the floor. Lucian appreciates that this uncomfortable position is not conducive for achieving his goal. He will set a sofa on which Sue can now keep and retrieve a serene position. The repetitive sitting sessions occupy every Saturday and Sunday and sometimes more for several months in a row. The small precise movement of the brush follows a systematic observation of the model, without impulse or emotion, for many hours.
Freud used Sue's professional occupation as a nickname. The second painting, Benefits Supervisor resting, was executed in 1994. This oil on canvas 151 x 161 cm was sold for $ 56M from a lower estimate of $ 30M by Christie's on May 13, 2015, lot 31B. The artist has succeeded. The body is the only subject of this nude painting The folded legs accentuate the swellings. The head head thrown backwards has no other role than to ensure the stability of the attitude.
Benefits Supervisor sleeping, oil on canvas 151 x 219 cm painted in 1995, was sold for $ 33.6M by Christie's on May 13, 2008, lot 37.
The body is reclining on the sofa with an acceptable head position on a cushion, probably at the request of the model, bringing a better impression of quiet intimacy. Please watch Christie's interview with Sue Tilley beside this painting before the sale.
Leigh Bowery had died of AIDS in December 1994. Sue Tilley will publish a biography of him in 1997.
Leigh Bowery has been one of his male models since 1988. Leigh is a post-punk dancer, stylist and creator of night clubs. He outrageously exhibits his homosexuality with exuberant make-up, high heels and latex body tights.
In 1990 Leigh invites Lucian to meet Sue Tilley who is benefits supervisor in an employment agency and cashier of one of his clubs in Piccadilly. Sue is 33 years old and weighs about 137 kg. She is an interesting specimen : Lucian considers that her flesh without muscle has generated an unusual texture of the skin, of which he observes all the folds and shadows. In real life her obesity is less visible because the body is held by her clothing.
The first painting had been done in 1993. Sue was lying naked on the floor. Lucian appreciates that this uncomfortable position is not conducive for achieving his goal. He will set a sofa on which Sue can now keep and retrieve a serene position. The repetitive sitting sessions occupy every Saturday and Sunday and sometimes more for several months in a row. The small precise movement of the brush follows a systematic observation of the model, without impulse or emotion, for many hours.
Freud used Sue's professional occupation as a nickname. The second painting, Benefits Supervisor resting, was executed in 1994. This oil on canvas 151 x 161 cm was sold for $ 56M from a lower estimate of $ 30M by Christie's on May 13, 2015, lot 31B. The artist has succeeded. The body is the only subject of this nude painting The folded legs accentuate the swellings. The head head thrown backwards has no other role than to ensure the stability of the attitude.
Benefits Supervisor sleeping, oil on canvas 151 x 219 cm painted in 1995, was sold for $ 33.6M by Christie's on May 13, 2008, lot 37.
The body is reclining on the sofa with an acceptable head position on a cushion, probably at the request of the model, bringing a better impression of quiet intimacy. Please watch Christie's interview with Sue Tilley beside this painting before the sale.
Leigh Bowery had died of AIDS in December 1994. Sue Tilley will publish a biography of him in 1997.
3
2003-2004 The Brigadier
2015 SOLD for $ 35M by Christie's
Before he retired in 1994, the figure of Andrew Parker Bowles often appeared in news photos but he remained anonymous despite his imposing posture. Colonel commanding the Household Cavalry before his promotion to the honorary rank of Brigadier, he assured the bodyguard to Queen Elizabeth II.
This aristocrat had previously shared the royal children's passion for horses and polo. The Prince of Wales will much later marry Camilla newly divorced from the Brigadier. The hero attended the wedding without resentment.
Lucian Freud was fond of horses, too, and a longtime friend of Andrew Parker Bowles. He painted his portrait in 2003-2004. During 18 months at a rate of three times a week and four hours per session, the Brigadier came to sit in the artist's studio.
Lucian's process is unique in the history of portrait painting. He rushed to the face of his model to inspect a tiny detail that provoked an equally abrupt return to save it on the canvas. Then he saturated his guest in an endless chatter before being ready to proceed with another detail. Lucian was very witty, which was quite necessary to maintain the patience of his models.
The obsession of the artist was to create lifelike works at the opposite of the dryness of a photograph. His method totally different from Bacon's led also to a strong emotion but Lucian managed to keep the realistic features of his characters. The Brigadier is still admiring today his portrait by Freud, better than life even in the glare of the medals.
The officer is not Sue Tilley. Lucian had not imposed an acrobatic attitude to this dignified sexagenarian who was indeed required to take the same position again at each new session. The result looks like a classic military portrait excepted that it is extraordinary in its psychological rendering.
This oil on canvas 224 x 138 cm was sold for $ 35M by Christie's on November 10, 2015, lot 31B.
This aristocrat had previously shared the royal children's passion for horses and polo. The Prince of Wales will much later marry Camilla newly divorced from the Brigadier. The hero attended the wedding without resentment.
Lucian Freud was fond of horses, too, and a longtime friend of Andrew Parker Bowles. He painted his portrait in 2003-2004. During 18 months at a rate of three times a week and four hours per session, the Brigadier came to sit in the artist's studio.
Lucian's process is unique in the history of portrait painting. He rushed to the face of his model to inspect a tiny detail that provoked an equally abrupt return to save it on the canvas. Then he saturated his guest in an endless chatter before being ready to proceed with another detail. Lucian was very witty, which was quite necessary to maintain the patience of his models.
The obsession of the artist was to create lifelike works at the opposite of the dryness of a photograph. His method totally different from Bacon's led also to a strong emotion but Lucian managed to keep the realistic features of his characters. The Brigadier is still admiring today his portrait by Freud, better than life even in the glare of the medals.
The officer is not Sue Tilley. Lucian had not imposed an acrobatic attitude to this dignified sexagenarian who was indeed required to take the same position again at each new session. The result looks like a classic military portrait excepted that it is extraordinary in its psychological rendering.
This oil on canvas 224 x 138 cm was sold for $ 35M by Christie's on November 10, 2015, lot 31B.
1990 Swamped by Doig
2021 SOLD for $ 40M by Christie's
Peter Doig applies a rich kaleidoscope of colors on large size canvases, assimilating the pictorial inputs of the top masters of his century including Klimt, Pollock and Richter, knowing to mingle figurative and abstract. Questioning and criticizing the role of humanity and its incongruous traces in nature, Doig states an admiration for Hopper.
He caught a prolific inspiration in a still from the 1980 film Friday the 13th, which turns out to have been a nightmare in the following of the story. The picture of the swamp in the moonlight just before or just after the crime already raises the question of humans physically lost within nature.
As for Monet's lily pond, the image includes both the shore and its reflection in water. The lone white empty canoe shifting on the tropical lagoon and its perfect reflection are too sparkling for their light to come only from the moon. This intense internal lighting is meaning that it is the last remaining element from some human civilization.
Swamped, oil on canvas 197 x 241 cm painted in 1990, was sold by Christie's for $ 26M on May 19, 2015, lot 5A, and for $ 40M on November 9, 2021, lot 9A.
On February 7, 2007, Sotheby's sold at lot 7 for £ 5.7M a painting of similar size dated 1990-1991 whose title White Canoe removes the hint to the movie inspiration of the series.
Relying in his own memory, Doig did not take references to other film images in his career. Having grown partly in Ontario, he was possibly also influenced in that canoe series by Tom Thomson's hallucinatory paintings in the Canadian wilderness and his mysterious death in 1917 by drowning in the so called Canoe Lake in that state.
He caught a prolific inspiration in a still from the 1980 film Friday the 13th, which turns out to have been a nightmare in the following of the story. The picture of the swamp in the moonlight just before or just after the crime already raises the question of humans physically lost within nature.
As for Monet's lily pond, the image includes both the shore and its reflection in water. The lone white empty canoe shifting on the tropical lagoon and its perfect reflection are too sparkling for their light to come only from the moon. This intense internal lighting is meaning that it is the last remaining element from some human civilization.
Swamped, oil on canvas 197 x 241 cm painted in 1990, was sold by Christie's for $ 26M on May 19, 2015, lot 5A, and for $ 40M on November 9, 2021, lot 9A.
On February 7, 2007, Sotheby's sold at lot 7 for £ 5.7M a painting of similar size dated 1990-1991 whose title White Canoe removes the hint to the movie inspiration of the series.
Relying in his own memory, Doig did not take references to other film images in his career. Having grown partly in Ontario, he was possibly also influenced in that canoe series by Tom Thomson's hallucinatory paintings in the Canadian wilderness and his mysterious death in 1917 by drowning in the so called Canoe Lake in that state.
