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Een Leven in Portretten: Lucian Freuds Visuele Autobiografie

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Een Leven in Portretten: Lucian Freuds Visuele Autobiografie Universiteit Gent Academiejaar 2014-2015 EEN LEVEN IN PORTRETTEN: LUCIAN FREUDS VISUELE AUTOBIOGRAFIE Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte, Vakgroep Kunst-, Muziek- en Theaterwetenschappen, voor het verkrijgen van de graad van Master, door Ruth Ferket (01102229) Promotor: prof. dr. Filip Geerardyn 1 “I’ve got a strong autobiographical bias. My work is entirely about my- self and my surroundings.” LUCIAN FREUD. 1 1 William Feaver, Lucian Freud (New York: Rizzoli International Publications, Inc., 2007), 18. 2 3 Inhoudsopgave I. Inleiding .................................................................................................................................. 8 I.1. Voorstelling van het onderwerp ....................................................................................... 8 I.2. Status quaestionis van het onderzoek .............................................................................. 9 I.3. Vraagstelling en doelstelling .......................................................................................... 10 I.4. Afbakening van het onderwerp ...................................................................................... 11 I.5. Onderzoeksstrategie en –methodologie ......................................................................... 12 II. Biografische schets .............................................................................................................. 13 III. Portretten met dieren .......................................................................................................... 16 III.1. Inleiding ...................................................................................................................... 16 III.2. Affiniteit ...................................................................................................................... 17 III.3. Biologische interesse ................................................................................................... 21 III.4. Vroege fascinatie ......................................................................................................... 23 III.5. Kitty ............................................................................................................................. 25 III.6. Verbondenheid tussen mens en dier ............................................................................ 28 III.7. David met Eli en Pluto ................................................................................................ 33 III.8. Conclusie ..................................................................................................................... 36 IV. Portretten van geliefden ..................................................................................................... 38 IV.1. Inleiding ...................................................................................................................... 38 IV.2. Web van relaties .......................................................................................................... 39 IV.3. Naked portraits ............................................................................................................ 42 IV.4. Jeugdliefde .................................................................................................................. 45 IV.5. Huwelijk ...................................................................................................................... 47 IV.6. Parijse portretten van Caroline .................................................................................... 50 IV.7. Minnaressen, modellen, moeders ................................................................................ 55 IV.8. Jonge geliefden ........................................................................................................... 56 4 IV.9. Langdurige liefdes ....................................................................................................... 60 IV.10. Conclusie ................................................................................................................... 61 V. Moederportretten ................................................................................................................. 63 V.1. Inleiding ........................................................................................................................ 63 V.2. Een gespannen relatie ................................................................................................... 64 V.3. Aanwezigheid ............................................................................................................... 67 V.4. Een reeks van portretten ............................................................................................... 70 V.5. Visies op de moederportretten ...................................................................................... 74 V.6. Conclusie ...................................................................................................................... 76 VI. Portretten van kinderen ...................................................................................................... 77 VI.1. Inleiding ...................................................................................................................... 77 VI.2. Vaderschap .................................................................................................................. 77 VI.3. Creatie van een familieband ........................................................................................ 85 VI.4. Annie en Annabel ........................................................................................................ 89 VI.5. Isobel, Rose en Susie .................................................................................................. 92 VI.6. Bella en Esther ............................................................................................................ 96 VI.7. Zonen ........................................................................................................................ 103 VI.8. Conclusie ................................................................................................................... 104 VII. Zelfportretten .................................................................................................................. 106 VII.1. Inleiding ................................................................................................................... 106 VII.2. Psychologische spanning en minutieuze observatie ................................................ 107 VII.3. Kritische Reflecties .................................................................................................. 109 VII.4. Naakte essentie ........................................................................................................ 114 VII.5. Sterfelijkheid ............................................................................................................ 118 VII.6. Conclusie ................................................................................................................. 122 VIII. Besluit ............................................................................................................................ 124 IX. Bibliografie ...................................................................................................................... 127 5 X. Afbeeldingen ..................................................................................................................... 131 6 7 I. Inleiding I.1. Voorstelling van het onderwerp Het leven en werk van Lucian Freud (1922-2011) zijn sterk vervlochten. Hij heeft de autobio- grafische basis van zijn portretkunst altijd zelf benadrukt, bijvoorbeeld in de volgende uit- spraak: My work is purely autobiographical. It is about myself and my surroundings. It is an attempt at a record. I work from the people that interest me, and that I care about and think about, in rooms that I live in and know. I use people to invent my pictures with, and I can work more freely when they are there. 2 Freud omschreef zijn hele oeuvre als portretkunst; het maakte niet uit of hij een interieur, een plant, een dier of een mens schilderde. 3 Elk levend wezen of ding had volgens hem een singu- lariteit. Toch was het met name het menselijke gezicht en lichaam waar zijn werk om draaide. Freud koos zijn modellen nooit lukraak uit, het waren de mensen die een rol in zijn leven speel- den die hij als schildersmodel aannam. Het waren vrienden, kennissen, kinderen, geliefden en familieleden. Bijna alle portretten zijn in zijn atelier, zijn persoonlijke ruimte waar hij het groot- ste gedeelte van zijn dagen doorbracht, geschilderd. Als realistische schilder beeldde Lucian Freud niets af dat hij niet effectief voor zijn ogen zag. 4 Het schilderen van een portret was een proces dat maanden duurde, met verschillende poseer- sessies per week. Door de vele uren die het model in Freuds atelier doorbracht, ging het deel uitmaken van zijn leven. Er was geen manier om dichter bij hem te staan dan model en deel te zijn van zijn creatieproces. Pas wanneer hij iemand schilderde kon hij die persoon de volledige aandacht en betrokkenheid geven. Hier raakten zijn leven en werk onlosmakelijk verbonden. Relaties kwamen door het portretteren tot stand. Tegelijkertijd zijn de portretten getuigenissen van relaties tussen de modellen en de kunstenaar. 2 John Russell, inleiding tot Lucian Freud [catalogue of an exhibition at the Hayward Gallery
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