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IMMA for students andteachers information and resources 2016 -2021 IRISH MUSEUMOFMODERNART IMMA COLLECTION FREUDPROJECT FREUD LUCIAN Royal Hospital Kilmainham, 2016-2017 Freud Centre, Irish Museum ofModernArt The Painter’s MotherReading, 1975 Lucien Freud resources student andteacher Freud Project IMMA Collection they happento be.’ not exactly inspite ofwhat they are like, buthow ‘I paint peoplenotbecause ofwhat they are like, IMMA IMMA Collection: Freud Project About theresources About the Department ofArts,Heritage and theGaeltacht. which was recently refurbished thanks to agrant from the These works are presented inadedicated Freud Centre Collection. encourage new thinkingaround therole andidentity ofthe part oftheIMMACollection for thenext five years and will remarkable andmemorable works. Theseworks willbe 20th century andthiscollection includessomeofhismost isanimportant andinfluential painter ofthe programmes, artists’ commissions and related exhibitions. accompanied by afullprogramme ofresearch, learning collection for an extented periodoftime.Itwillbe IMMA hasdedicated aseriesofgalleries to asingle The IMMACollection: Freud Project drawing. comprising nineteen large-scale etchings andoneearly The loanincludesthirtypaitingsandtwenty works onpaper years. IMMA’s collection from several private collectors for five paintings and works onpaper by LucienFreud onloan to The IMMACollection: Freud Project response to Freud’s work. discussion,researchfurther thinking, andmakingin exhaustive, butare intended to serve asaprompt for These resources are notinany way comprehensive or from theIMMACollection: Freud Project. during avisit;andafter avisit to the exhibition of work support students andteachers: inpreparation for avisit; These resources are intended to provide information to 2016 -2021 Irish MuseumofModernArt IMMA COLLECTION FREUDPROJECT LUCIAN FREUD isthefirst timethat comprises fifty Lucian Freud resources student andteacher Freud Project IMMA Collection 2 IMMA him andto hisown existence isfraught.’ ‘Freud’s resilient exploration aswitness to thosearound About theexhibition About theArtist Curation Lighting Layout School ofPainting andDrawing, Dedham,Suffolk. Crafts, ,andwithCedricMorris at the East Anglian Freud studied briefly at TheCentral SchoolofArtsand the rest ofhislife. power. Thefamily settled inLondonwhere Freud lived for due to increasing anti-Semitism astheNaziparty came to . Freud’s family was Jewish andthey left Germany In 1933,whenFreud was 10years old,hisfamily fled to of . Clement. Hisgrandfather was SigmundFreud, thefounder had anolderbrother Stephen andayounger brother Brasch, read classicsat theUniversity ofMunich.Freud father, Ernst Freud, was anarchitect andhismother, Lucie Lucian Freud was borninBerlin,Germany, in1922.His 1922 -2011 Lucian MichaelFreud as theprints are very vulnerable to light. basement where thelighting is controlled usingspotlights Most oftheprints andworks onpaperare displayed inthe The exhibition employs spotlights inthe spaces. gallery was Freud’s assistant for twenty years. Freud inhisstudio taken by the artist David Dawson who on paperandalsoincludesanumberofphotographs of The exhibition allthirty includes paintings and twenty works worked, buildinguptheform from rough sketches. unfinished sketch, whichprovide aninsight into how Freud of thesamesubject,DonegalMan example, inroom 4ontheFirst Floor, we seeseveral works attention to styles,themesandsubjectsin Freud’s work. For can beviewed inany order. Works are arranged to draw stories. Thework isnotpresented chronologically and The exhibition islaidoutacross several rooms onthree Collections Programmer. Curator: HeadofCollectionsandJohanneMullen, The exhibition iscurated by Christina Kennedy:Senior Collection andwillbeonview for afull year. Freud Project This first exhibition of work from theIMMACollection: will feature theentire fifty works inthe , includingapreliminary Antony Gormley, artist resources student andteacher Freud Project IMMA Collection 3 Freud’s subjects-what Freud painted an approachthat requiressuchahighlevelofdetachment.’ interesting to me istheamountofsubjectivity that emergesfrom cruelty. Thisintense observationreliesonacold eye.Whatis ‘Lucian Freud’spaintingshavea directnessthatcanborderon IMMA Materials shade rather thanline. canvases, thefigure isdepicted through form andlight and work, where heusedlarge brushesandworked onbigger of lineto depicthissubject;however, inhismore mature early work, hispaintings were more concerned withtheuse he usedsketchbooks to make preliminary drawings. Inhis Drawing paint. pencil, chalk,varnish andeven, earlyon,oil-based house paper, Ingres paper, oil,charcoal, ink,watercolour, conté, the course ofhiscareer includingplywood, canvas, layout technically experimental andusedmany materials over etching are alsoimportant aspectsofhiswork. Freud was Freud’s mainmediumis on hispart. Elizabeth (2000-2001)was notacommission butarequest Freud rarely undertook commissions. Hispainting ofQueen that doesn’t always work’ (Freud andSmee,2006,p.22). rooms Iknow, where Ihave always worked -andeven ‘Iwork withgreat difficulty from peopleIknow wellin basement). His preference was to paint inhisstudio, noting: 2003, basement) anddoctor (ThePainter’s Doctor, 2006, interested him,suchashissolicitor (Solicitor’s Head, He alsodepicted friendsandpeopleheknew orwho grandson ( (The Pearce Family, 1998,room 2,ground floor)andhis room 1,ground floor);hisdaugher Rose andher family Reading, 1975andThePainter’s MotherResting 1,1976, room 2,ground floor);hismother( as hisdaughters BellaandEster ( Freud’s large family were regular subjectsofhiswork, such still lifes. he alsopainted plants, animals,interiors, cityscapes and While most ofFreud’s work comprises portraits andnudes, For more detailed biographical information, see pp.20-21. whom feature inhiswork. to Caroline Blackwood. Hehadseveral children, many of Freud was marriedtwice,first to KittyGarmanandthen was alsoanimportant feature ofFreud’s work: Albie, 2003-04,room 2,ground floor). painting, althoughdrawing and Bella andEster, The Painter’s Mother 1987-88 Ellen Altfest, artist resources student andteacher Freud Project IMMA Collection 4 IMMA Methodology Influences several paintings including or sleeping.Oneofhissubjects,SueTilley, thesubjectof of hispaintings feature people lyingona couch reading, considerable commitment onthepartofhissitters. Many required longposesover weeks andmonths. Herequired a Freud always painted from life andmany ofhis paintings close range orfrom anobliqueangle. floor). Heoften painted hissubjectsviewed frontally, at the painting (seeThePearce Family, 1998,room 2,ground paintings where theperspective variesindifferent partsof subject from different angles.Thisis evident inmany ofhis Freud preferred to stand approaching whilepainting, his including anexample ofanetching plate. basement gallery you willseeaselectionofFreud’s etchings the etching plate whilethemodelsat infront ofhim.Inthe 1980s. Aswithhispaintings, heoften drew directly onto intermittently inhisearly career and returned to inthe Etching Neue Sachlichkeit (New Order), whichwas dominant in GermanExpressionism,wtih andthelater realist movement artists asuchasMax BeckmanandGeorge Grosz associated There are alsosomesimilaritiesinhisearly work andthat of painters andfriendsofFreud. Bacon andFrank Auerbach,bothofwhomwere figurative John Craxton, Graham Sutherland, andmost notably Francis and alsofrom thework ofhispeers andfriendsincluding Some influences can aslobededucedfrom theseartists Baptiste-Siméon Chardin, JohnConstable, Paul Cezanne. Gustave Courbet, Jean-Auguste-Dominique Ingres, Jean- Hals, Matthias Grunwald, Rembrandt van Rijn,Frans Hals, interested inthework of many artists includingFrans and alsosocialisedwithmany artists andpatrons. He was However, hetravelled to meet artists and to see exhibitions autobiographical. It’s aboutmyself andmy surroundings’. other artists onhis work, noting‘My workispurely Freud didnotacknowledge any overt influences from paintings heused high very wattage light bulbs. on several paintings at thesametime. Forhisnighttime continued thesittings atnight, so that hemight be working daytime. Likewise ifapainting was started atnighttime he began duringdaylight hecontinued thesittingsduring from awindows includingaroof window. Onceapainting and artificiallight. Forhis paintingsdaytime heused light Freud preferred to paint inhisstudio usingbothdaylight days a week for several months to sitfor onepainting. 1995, describeshow shewent to hisstudio two to three , was alsoafavoured mediumwhichFreud used Benefit’s Sleeping, Supervisor

resources student andteacher Freud Project IMMA Collection 5 IMMA Themes Style such asthehandsorhead are emphasised. figures are often notin proportion, where some features figures reflect his fascination withthehuman form.His figuration had become unfashionable. Hisfullyfleshed-out his depictionofthebodyinits fully corporeal form when capacity to evoke moodandexperience. Freud persisted in of skin,theform ofmuscleandsinew, butalsothebody’s its material conditions intensified: the texture andpalour body. Ashispainting developed hisscrutiny ofthebodyand Throughout Freud’s career hewas preoccupied withthe The body of thisexhibition, the following are a few suggestions: There are many themes which can be explored in the context motivated. until theend of theCold War in1989)which was politically Realsim (dominant intheSoviet Unionfrom the1920s concerned with addressing social issues,andSocialist (dominant intheUnited States inthe1930s)whichwas twentieth century styles of realism such as Social Realism Freud’s style ofrealism haslittlein common withother Leon Kossloff. figure includingFreud, Francis Bacon, Frank Auerbachand London inthe1950swhosework was concerned withthe School’ to refer to thework ofanumberartists basedin B.Kitajthe 1950s,‘60sand‘70s.R. coined theterm ‘London the prevailing trends ofabstraction and conceptual artin (realism). Freud’s preference for figuration was atoddswith realist styles suchasIngres (neoclassisism)andCourbet similarities withthe work ofartists associated withearly Freud’s painting is referred to as realist and we can seesome canvas. where thepalette knife andbrushstrokes are visibleonthe as impasto. Intheseworks, thepaintwork ismore expressive apply thepaint directly onthecanvas inthickstrokes known and alsobegan usingapalette knife whichenabledhim to hogshair brushes(usedfor covering larger areas ofpaint) and changed from sablebrushes(usedfor detailed work) to later work, heabandondeddrawing, usedlarger canvases minuteness ofdetail reflecting his relianceon drawing. Inhis and preceise, characterised by asharpnessofoutlineand work from the1940sand1950swas smaller, more linear preoccupied withthefigure throughout his career. Hisearly Freud’s style ofpainting evolved over timebuthe remained representation ofhissubject. expression andmoodrather thanto convey anexact his palette ismore subdued,Freud uses colour to heighten inhisexpressive brushwork and,although denied suchassociations. We can alsoseesimilaritieswith Germany duringthe1920sand1930s.However, Freud resources student andteacher Freud Project IMMA Collection 6 people, not ‘I would like my portraits to be ofthe IMMA like them.’ Lucian Freu d, quoted 1982. in Gowling, ground floor)and Susanna, JoshuaandFreud’s dog Pluto (bothinroom 2, Joshua;Triplewith herdog, Portrait, 1987-1988whichfeatures Portrait, 1985-1986,whichfeatures Freud’s friendSusanna combination withotheranimalsorhumanssuchas their own right suchas Animals are aregular feature inFreud’s paintings, eitherin Animals character. he evokes notjust arepresentation ofthesubjectbuttheir plants, dogsandhorses, can bedescribedasportraits inthat interested him.Many ofFreud’s works, even hispaintings of painting subjectsofhischoicewhomheknew orwho portraits ofthenobility. Freud rarely accepted commissions Traditionally, artists were commissioned by patrons topaint Portraiture reflection ofhimself. sees hissubjectsand,inthat regard, they could beseenasa much aninsight into hisindividualsubjectsbutinto how he treatment ofallhissubjects,that hispaintings reflect notso subject. Itcould alsobeargued, asthere isasimilarityto his penetrating,’ concerned with getting undertheskinofhis Freud’s style ofrealism hasbeendescribedas‘psychologically - thesitter -andaprocess of reavealing hissubject over time. that painting was a way of getting to get to know hissubject and thelenght oftimehe took to complete a work suggest person beingpresent throughout thecourse of thepainting psychological nature oftheperson. Freud’s insistance onthe with regard to theirconcern withunderstanding the have beenmadebetween hiswork andthat ofhisgrandfather ’s theoriesofpsychoanalysis, many associations Although Freud expressed nointerest inhisgrandfather The psychological work inacontemporary context. subsequent generations ofartists andthesignificance ofhis his relationship withIreland: theinfluence ofhis workon Freud Project and . Over the course oftheIMMACollection: including Brendan Behan,Patrick Kavanagh, JohnMontague He was acquainted withseveral Irishwriters andartists Freud was aregular visitor to Ireland inthe1940s and1950s. Freud’s relationshipwtih Ireland andIrishartists subjects. intense scrutiny andtreatment both to hisanimalandhuman as Landscape withBat,1980.Heappliedthesamelevel of floor). Freud was alsointerested inpainting deadanimalssuch we hopeto explore thenature andextent of Guy withSpeck,1980-1981 A Filly, 1970(room 1,first floor),orin rst (Room 1,first Double resources student andteacher Freud Project IMMA Collection 7 IMMA About theArtwork For Discussion Dimensions Materials Location Artist Title similar style? - Canyou thinkofexamples ofpaintings by otherartists ina - What ismissing? - How isthissubjectframed? with hismother? - What doesthispainting tell usabouttheartist’s relationship - What doesthispainting tell usaboutFreud’s mother? gaze. herlost He isobserving inherown thoughts connection’ withhim; yet, here hepaints herwithan averted Freud talked aboutresisting hismother’s attempt to‘make a rather thanreading attentively. Sheislost inher own concerns. movement through thebook butalsothat sheisjust ‘leafing’ was animportant bookfor Freud. Thelooseleaf suggests His motherisreading hiscopy oftheEgyptian Book,which attention onthe face. of expressive brushwork, muted colours andthefocused but subduedexample ofFreud’s mature style interms This painting ThePainter’s MotherReading her deathbed, ThePainter’s MotherDead, died in1989andhislast work isacharcoal drawing ofheron was rather threatened’ (Freud andSmee,2006).Hismother avoided herbecause shewas so intuitive that I felt my privacy 1, 1976(bothinRoom 1,Ground Floor).‘Before then,Ialways Painter’s MotherReading years, hepainted hismothermany The times,including, up,’ Freud invited herto sitfor himinhisstudio. Over several became depressed andtriedto commit suicide.‘To cheerher mother Lucie.After his father died,in1970,Freud’s mother This painting isoneofaseriespaintings oftheartist’s Room 1,Ground Floor 65.4 x50.2cm Oil onCanvas The Painter’s MotherReading, 1975 Lucien Freud 1975; The Painter’s MotherResting 1989. 1975 isatypical resources student andteacher Freud Project IMMA Collection 8 IMMA About theArtwork For Discussion Dimensions Materials Art Work Location Artist

portrait’? nudes. How does theclothedportrait differ from the‘nude - Many ofFreud’s portraits, even ofhisfamily members, were painting tell usaboutthe relationship between thefigures? - What doestheway inwhichFreud hasstructured this - What isthemoodofpainting? - What ishappeninginthispainting? group portrait. heads) whichechotheform ofthespaceandstructure the traces theadults’headsandonewhichtraces thechildren’s is avoided by theuseofintersecting diagonal lines(onewhich suggests thefigures might slideoffthe canvas. However, this The flattening ofthepicture plane,inparticularthefloor, if they have beenpainted straight on. above, whileotherelements suchasthefigure of Rose lookas head andtheyoung boy lookasifthey were painted from viewpoints sothat somepartsof thepainting suchasMark’s In thispainting we can see evidence ofFreud’s useofmultiple pregnancy. of thebaby, theinclusionofyoung boy andalsoRose’s of changes inthefamily structure includingtheaddition As thispainting developed, it was adapted to take account a longperiodoftime,oftenextending over months and years. and herhusbandMarkPearce. Freud worked onpaintings over This painting began asaportrait ofFreud’s daughter Rose Boyt Room 2 142.2 x101 oil oncanvas The Pearce Family Lucien Freud , 1998 resources student andteacher Freud Project IMMA Collection 9 IMMA The ArtWork Dimensions Materials Location Artist Title have onthepainting andhow we seeit? angles: straight onandfrom above. What affect doesthis - Theposesuggests thesitter was painted from different Freud’s relationship to thesitter? - What doesthispainting tell usaboutthesitter andabout - What isthemoodofsitter? For Discussion deliberately over aperiod oftime. quickly; yet, thispainting would have beenpainted slowly and is looseandexpressive suggesting that the work was painted colours, rather thanthrough the useofline.Thepaintwork suggested throughthe useoftone, lightmutedshade and and of three-dimensional sculptural form. Theform ofthefigure is warm andcool colours andlights anddarks to create asense Despite avery subduedpalette, Freud employs a range of the sitter isdeepin tought. looking down andnotat theartist ortheviewer, suggesting all ofwhichdraws attention tothe face.The eyes are averted, shoulders. There isnobackground orforeground information, This painting iscloselycropped, depictingonlytheheadand Slade schoolofArtwhere Freud taught for several years. This isapainting of Katy McEwen, a former student ofthe First Floor, Room 3 50.8 x40.6cm oil oncanvas Head ofaGirl Lucien Freud , 1975 resources student andteacher Freud Project IMMA Collection 10 IMMA About theArtwork For discussion Dimensions Art Work Location Artist - what doesthisself-portrait tell usabouttheartist? from 1949(also inroom 3,ground floor). - How doesthisself-portrait compare to hisearlierself-portrait - How doesFreud uselight inthispainting? - What techniques didFreud useto achieve hisaffect? - What istheexpression ontheartist’s face? - Why doyou thinkFreud painted himself nude? beyond thepicture from. are slightly averted, lookingdownward to anunknown space the picture frame, hedoesnotlookat theviewer. Hiseyes Although thisisaself-portrait, andthefigure is facing outfrom shoulders; allotherelements are outsidetheframe. and head.Whilethefigure isnude, we onlyseetheheadand This painting isentirely focusedonthedepictionof face enhanced through hisuseofexpressive brushwork. the physicality andthree-dimensionality ofthefigure. Thisis which, althoughnotnaturalistic, generate a strong senseof enhanced thisaffect through hisuseof warm and cool colours deep shadows andcontrasting, angularplanesoflight. He FreudIn thispainting, usedartifical light from above to create process through thegenre oftheself-portrait. admired, documented theirown development andageing Many artists, most notably Rembrandt, whose work Freud Freud completed twenty-two selfportraits duringhislifetime. Room 3,Ground Floor 55.9 x53.3cm Reflection (Self-Portrait), 1985 Lucien Freud resources student andteacher Freud Project IMMA Collection 11 IMMA About theArtwork For discussion Dimensions Materials Art Work Location Artist Guy andSpeck,1980-81 Lucien Freud particularly inthispainting? the headandhandsofhissubjects-why isthisimportant, - Inmany ofFreud’s paintings great attention is given to painting? - How doesFreud reveal thisrelationship through the - What istherelationship betwee GuyandSpeck? eye. and, even thoughheisresting, Speckalso keeps a watchful of bothGuyandSpeck.islookingdirectly at theviewer attention and treatment ashedidhumans.Thisisaportrait Pluto. Inhispaintings, Freud gave animalsthesamelevel of which features SusannawithJoshuaandFreud’s whippet Joshua; and (room 2,ground floor)aportrait ofSusannaandherwhippet Collection: Freud Project animals. Dogsfeature inseveral oftheworks inthe Freud was interested intherelationship between people and precariously halfonhislap. Guy isholdingonto Speck,aJackRussellterrier, asherests racing. Guyhasfeatured inseveral ofFreud’s paintings. former jockey, whoshared withFreud aninterest inhorse- This isaportrait ofGuyHart,anantiques dealerand First Floor, Room 1 76.2 x71.1cm Oil oncanvas Triple Portrait, 1987-88,room 2,ground floor) suchas Double Portrait, 1985-1986, IMMA resources student andteacher Freud Project IMMA Collection 12 think Freud persisted inpainting thefigure from life? During the1950sand1960smany artists turned to abstraction and conceptual art. Why do you Can you thinkofotherartists whose work issimilar to, orwhomay have influenced, Freud? Freud painted many ofhissubjectsinthenude-‘naked portraits’ -why doyou thinkhedidthis? was important for himto work from life? Freud always painted from life, insisting on lengthyvery posesfrom hissitters. Why do youthinkit this effect hispainting andthe way thepainting looks? In hislater work, Freud usedthickpaint appliedwithlarge brushesandapalette knife -how does How isthesubjectframed orcropped? understand hiswork? partners, hisfamous grandfather. Inwhat way doesthisknowledge influence how you look at and Freud was very famous -acelebrityandmuchisknown abouthislife: hissociallife, hismany What doesthe labelaccompanying theartwork tell you aboutthework? How doesthelighting effect the work? What otherchoicesdidtheartist make? From what point ofview was theartwork painted? How isthismoodevoked? What isthemoodinthispainting? What doyou first noticewhen youlook atthispainting? Select apainting: these questions can beused to prompt discussionin response to individual works orthebodyof work asawhole Questions for discussion IMMA resources student andteacher Freud Project IMMA Collection 13 IMMA

Painter’s StudioandEli,2006 D. DavidDawson Etching PlateforEli,2004 C. DavidDawson Working atNight,2005 B. DavidDawson Mirrow intheStudio,2004 A. DavidDawsonn Photographs 2

shop Room 1 1 A B entrance D C 3 lift 10 4 Room 2 8 9 Room 3 11 5 c 12 b 6 7 Two IrishmeninW11,1984-1985 12. LucianFreud Etching Self-Portrait: Reflection, 1996 11. LucianFreud Reflection, (SelfPortrait),1985 10. LucianFreud Self-Portrait, 1949 9. LucianFreud Room 3 Bella andEsther,1987-1988 8. LucianFreud Albie, 2003-2004 7. LucianFreud Fred, 1985 6. LucianFreud Double Portrait,1985-1986 5. LucianFreud Triple Portrait,1987-1988 4. LucianFreud Room 2 The PearceFamily,1998 3. LucianFreud The Painter’sMotherRestingI,1976 2. LucianFreud The Painter’sMotherReading,1975 1. LucianFreud Room 1 Ground Floor Gallery GROUND FLOOR GROUND NEW GALLERIES IMMA

resources student andteacher Freud Project IMMA Collection

14 IMMA etching Head ofanIrishman, 1999 7. LucianFreud The BigMan,1976-1977 6. LucianFreud Head ofanIrishman,1999 5. LucianFreud Room 2 A Filly,1970 4. LucianFreud Guy andSpeck,1980-1981 3. LucianFreud Man inaCheckCap,1991 2. LucianFreud Landscape withBat,1980 1. LucianFreud Room 1 16 15 3

Room 4 17 14 Room 1 2 4 15 1991 Woman ina Butterfly Jersey, 1990- 13. LucianFreud Annabel, 1990 12. LucianFreud Naked Portrait,Fragment,2001 11. LucianFreud Head ofaYoung Irishman,1999 10. LucianFreud Head ofaGirl,1975-1976 9. LucianFreud Room 3 Head oftheBigMan,1975 8. LucianFreud 11 1 5 10 12 Room 3 6 Room 2 8 Kai, 1991-1992 18. LucianFreud 2006 Portrait ofDonegalMan,Fragment, 17. LucianFreud Donegal Man,2006 16. LucianFreud Donegal Man,Profile, 2007 15. LucianFreud 1989 Portrait ofChristopherBramham, 14. LucianFreud Room 4 9 First Floor Gallery Room 5a E 13 7 resources student andteacher Freud Project IMMA Collection FIRST FLOOR FIRST NEW GALLERIES IMMA

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IMMA Etching, EditionA/P1/12 8. DonegalMan,2007 Head ofaNakedGirl,2000 7. LucianFreud Four Figures,1991 6. LucianFreud David Dawson,1998 5. LucianFreud Before theFourth,2004 4. LucianFreud The EgyptianBook,1994 3. LucianFreud After Chardin,2000 2. LucianFreud After Constable’sElm,2003 1. LucianFreud

5 4 6 7 3 < toReception Stairs 8 2 9 toilets 1 10 Solicitor’s Head,2003 16. LucianFreud Head ofAli,1999 15. LucianFreud Portrait Head,2001 14. LucianFreud Susanna, 1996 13. LucianFreud Girl withFuzzyHair,2004 12. LucianFreud The Painter’sDoctor,2006 11. LucianFreud The NewYorker, 2006 10. LucianFreud Portrait Head,2005 9. LucianFreud 11 entrance 12 13 20 14 Basement Gallery 15 19 16 Loch NessfromDrumnadrocht,1943 20. LucianFreud Painter’s Garden,2003-2004 19. LucianFreud Eli, 2002 18. LucianFreud Bella inherPlutoT-Shirt,1995 17. LucianFreud 18 17 resources student andteacher Freud Project IMMA Collection BASEMENT NEW GALLERIES IMMA

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EX.2016.1.27 On Loan,Private Collection Collection IrishMuseumofModern Art 19 x26.7cm Oil oncanvas A Filly, 1970 Lucian Freud EX.2016.1.26 On Loan,PrivateCollection Collection IrishMuseumofModernArt 21.5 x25.5cm Oil oncanvas Triple Portrait,1987-1988 Lucian Freud EX.2016.1.25 On Loan,PrivateCollection Collection IrishMuseumofModernArt 25 x17cm Oil oncanvas Self-Portrait, 1949 Lucian Freud EX.2016.1.21 On Loan,PrivateCollection Collection IrishMuseumofModernArt 48.4 x38.3cm Oil oncanvas Head ofaYoung Irishman,1999 Lucian Freud EX.2016.1.20 On Loan,PrivateCollection Collection IrishMuseumofModernArt 82.5 x72cm Oil oncanvas Head ofanIrishman,1999 Lucian Freud EX.2016.1.19 On Loan,PrivateCollection Collection IrishMuseumofModernArt 24.5 x16.5cm Oil oncanvas Annabel, 1990 Lucian Freud EX.2016.1.18 On Loan,PrivateCollection Collection IrishMuseumofModernArt 31.7 x27.2cm Oil oncanvas Portrait ofChristopherBramham,1989 Lucian Freud EX.2016.1.17 On Loan,PrivateCollection Collection IrishMuseumofModernArt 76.2 x71.1cm Oil oncanvas Guy andSpeck,1980-1981 Lucian Freud IMMA Full listofworks intheIMMA Freud Collection: Project On Loan,PrivateCollection Collection IrishMuseumofModern Art 52 x40.5cm Oil oncanvas Donegal Man,Profile,2007 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 45.1 x37.5cm Copper 2007 Copper EtchingPlateof‘DonegalMan’, Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 61 x45cm Oil oncanvas Man inaCheckCap,1991 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 51 x35cm Oil andcharcoaloncanvas Portrait ofDonegalMan,Fragment,2006 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 137 x106.5cm Oil andcharcoaloncanvas Naked Portrait,Fragment,2001 Lucian Freud EX.2016.1.32 On Loan,PrivateCollection Collection IrishMuseumofModernArt 91.4 xcm Oil oncanvas The BigMan,1976-1977 Lucian Freud EX.2016.1.28 On Loan,PrivateCollection Collection IrishMuseumofModernArt 78.7 x88.9cm Oil oncanvas Double Portrait,1985-1986 Lucian Freud EX.2016.1.24 On Loan,PrivateCollection Collection IrishMuseumofModernArt 17.8 x12cm Oil oncanvas Fred, 1985 Lucian Freud On Loan,Private Collection Collection Irish Museum ofModernArt 90.2 xcm Oil oncanvas The Painter’sMotherRestingI, 1976 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 22.3 x16.1cm Oil oncanvas Landscape withBat,1980 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 55.9 x53.3cm Oil oncanvas Reflection (Self-Portrait),1985 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 142.2 x101cm Oil oncanvas The PearceFamily, 1998 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 36.8 x30.5cm Oil oncanvas Albie, 2003-2004 Lucian Freud EX.2016.1.41 On Loan,PrivateCollection Collection IrishMuseumofModernArt 51.5 x62cm Oil oncanvas Kai, 1991-1992 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 73.7 x88.9cm Oil oncanvas Bella andEsther, 1987-1988 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 100.3 x81.3cm Oil oncanvas Woman inaButterflyJersey, 1990-1991 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 41 x27cm Oil oncanvas Head oftheBigMan,1975 Lucian Freud resources student andteacher Freud Project IMMA Collection 17 On Loan,PrivateCollection Collection IrishMuseumofModernArt 55.9 x45.7cm Oil oncanvas Donegal Man,2006 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 172.7 x142.2cm Oil oncanvas Two IrishmeninW11,1984-1985 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 65.4 x50.2cm Oil oncanvas The Painter’sMotherReading,1975 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt 50.8 x40.6cm Oil oncanvas Head ofaGirl,1975-1976 Lucian Freud IMMA Full listofworks, contd. EX.2016.1.9 On Loan,PrivateCollection Collection IrishMuseumofModern Art Sheet size:68x94cm Plate size:59.5x86cm Etching, Edition29/30 Four Figures,1991 Lucian Freud EX.2016.1.10 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:59x57.2cm Plate size:38xcm Etching, EditionProof Head ofaNakedGirl,2000 Lucian Freud EX.2016.1.12 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:72.4x57.1cm Plate size:59.7x46.2cm Etching, EditionA/P3/12 Portrait Head,2001 Lucian Freud EX.2016.1.11 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:59.1x48.3cm Plate size:36.7x27.8cm Etching, EditionA/P3/12 Solicitor’s Head,2003 Lucian Freud EX.2016.1.14 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:75.7x57.5cm Plate size:59.9x43.2cm Etching, EditionA/P5/12 Head ofAli,1999 Lucian Freud EX.2016.1.15 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:47.9x37.8cm Plate size:31.1x24.1cm Etching, EditionA/P6/12 After Constable’sElm,2003 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:77.5x61.5cm Plate size:59.7x45.7cm Etching, EditionA/P5/12 The Painter’sDoctor, 2006 Lucian Freud Etchings andWorks onPaper On Loan,PrivateCollection Collection IrishMuseumofModern Art Sheet size:64.5x56.9cm Plate size:37.5xcm Etching, EditionA/P2/12 The NewYorker, 2006 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:49.9xcm Plate size:29.9xcm Etching, EditionTrial Proof Susanna, 1996 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:66.7x57.8cm Plate size:45.1x37.5cm Etching, EditionA/P1/12 Donegal Man,2007 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:77.3x95.6cm Plate size:66x85.1cm Etching, EditionProof Eli, 2002 Lucian Freud EX.2016.1.6 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:57.3x66cm Plate size:34.5x42.9cm Etching, EditionA/P10/12 Before theFourth,2004 Lucian Freud EX.2016.1.7 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:46.4x42.5cm Plate size:29.8xcm Etching, EditionA/P8/12 The EgyptianBook,1994 Lucian Freud EX.2016.1.8 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:61.5x50.8cm Plate size:40x31.8cm Etching, EditionA/P12/12 Portrait Head,2005 Lucian Freud resources student andteacher Freud Project IMMA Collection 18 On Loan,Private Collection Collection Irish Museum ofModernArt 39.7 x45.4cm Pen andinkonpaper Loch NessfromDrumnadrochit, 1943 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:88x70.2cm Plate size:59.4x43cm Etching, EditionA/P2/12 Self-Portrait: Reflection,1996 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:83.2x71.4cm Plate size:68x59.2cm Etching, EditionA/P3/12 Bella inherPlutoT-Shirt, 1995 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:75.7x57.7cm Plate size:59.7x42.9cm Etching, EditionA/P7/12 David Dawson,1998 Lucian Freud EX.2016.1.47 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:77.5x100.1cm Plate size:63.5x86.8cm Etching, EditionProof2 Painter’s Garden,2003-2004 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:97.2x78.1cm Plate size:74.3x56.5cm Etching, EditionA/P11/12 Head ofanIrishman,1999 Lucian Freud EX.2016.1.49 On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:77.2x96.5cm Plate size:59.6x73.4cm Etching, EditionA/P1/12 After Chardin,2000 Lucian Freud On Loan,PrivateCollection Collection IrishMuseumofModernArt Sheet size:65.7x49.8cm Plate size:31.7x29.5cm Etching, Edition43/46 Girl withFuzzyHair, 2004 Lucian Freud IMMA Full listofworks, contd. On Loan,CourtesyHazlittHolland-Hibbert Collection IrishMuseumofModernArt 39.5 x59cm Chromogenic print Painting ofRiaalmostfinished,2007 David Dawson On Loan,CourtesyHazlittHolland-Hibbert Collection IrishMuseumofModernArt 39 x58.5cm Chromogenic print Working atNight,2005 David Dawson EX.2016.1.52 On Loan,PrivateCollection Collection IrishMuseumofModernArt 51.5 x3126cm Bronze Portrait ofLucianFreud,1947 resources student andteacher Freud Project IMMA Collection 19 Kitty, taking rooms off Lower Street. Baggot Dublin inthelate forties and earlyfiftieswith a visitingtutor at theSladeSchoolofArt. Now 1949 whose studio hesometimes shares. Freud iscloseto thepainter Patrick Swift, and visitsConnemara withAnnDunn. the 1948JackB.Yeats exhibition at the Clifton Hill,Maida Vale. Freud isinspired by 1948 Poros where heremains for five months. Paris. JoinsJohnCraxton ontheGreek island of Giacometti. Freud makes his first etchingsin months inParis where hemeets Picasso and 1946 caught upwith". Lorna Wishart,thefirst person Lucian"is really (1945) andWoman withaDaffodil (1945)depict 1945 long andclosefriendship. Freud to Francis Bacon, withwhomheforms a Lefevre Gallery. Graham Sutherlandintroduces 1944 merchant. of Munichandisthedaughter ofagrain Lucie Brasch, hasread Classicsat theUniversity youngest sonofSigmundFreud. Hismother, His father isErnst Freud, anarchitect andthe 1922 Ness from Drumnadrochit. completes thehighlydetailed drawing Loch Lawrence andNigel MacDonald,Freud Hotel withartschool friends,Bettina Shaw- 1943 patron. Wood, paidfor by Peter Watson, awealthy 1942 drawing by Freud inHorizon magazine. 1940 illustrates. whose book,TheBackward Son(1940),Freud MeetsStephen Spender, poet andnovelist, of Painting andDrawing, Dedham,Suffolk. under CedricMorrisat theEast AnglianSchool and Crafts, London, after abrief stay, to study 1939-1942 1939 Hall, Devon, andBryanston SchoolinDorset. becomes Chancellor. Lucianattends Dartington 1933 the Painter”. , arundown area. Locals call him“Lu London hetakes rooms inDelamere Terrace, WilliamColdstream invites Freud to be MarriesKittyGarman.They move to JoinstheLondonGallery. Spendstwo First one-manshow at theAlex Reid and LucianFreud isborn8DecemberinBerlin. Whileholidaying at theDrumnadrochit CyrilConnollypublishesaself-portrait Becomes anaturalised Britishsubject. Thefamily emigrate to Londonafter Hitler Visits theScillyIsles.Woman withaTulip Takes astudio inAbercorn Place, St.John’s IMMA 1 Leaves TheCentral SchoolofArts Hisgrandfather isSigmundFreud. by Patricia Brennan, IMMAVisitor Engagement Team Lucian Freud 1922-2011 Biographical Information 3 4 2 Returning to 7 5 Heisin 6 Brendan Behan. Wicklow andrenews hisacquaintance with Caroline, spendsChristmas at Luggala inCo. whom heforms anenduringfriendship.With 1955 sable brushesfor hogshair. briefly owns. Lucian’s father, Ernst, dies. 1970 centennial exhibition in Paris. of abeautifulblondemodel.Visits theIngres naked portrait inthelate withaseries sixties Freud continues to develop his concept ofthe 1967 Hals exhibition. Travels to Haarlem,Netherlands, for aFrans 1962 particular LesBaigneuses(1853). Fabre at Montpellier for theCourbets, in Musée Ingres at Montauban, andtheMusée depiction oftheCrucifixion.Alsovisits Matthias Grünewald, withitsunflinching see theIsenheimAltarpiece (1512–1516),by the MuséeUnterlinden at Colmar, Alsace,to 1960-1961 Annie; Naked ChildLaughing(1963). form. Anearlynaked portrait isofhisdaughter drawing to amore painterly concentration on key work inFreud’s transition from a reliance on model for Pregnant Girl(1960-1961),another Meets Bernardine Coverley inSoho.Sheisthe transitional work. ThemodelisSuzy Boyt. 1959 1958 sits down to paint again. selfportrait withCaroline. After thishenever paints Hotel Bedroom (1954),atroubled published inEncounter magazine. InParis, he Some Thoughts onPainting by LucianFreud is represents Britain at the27thVenice Biennale. 1954 the 1970sand1980s. whom healsopainted. Thesevisitscontinue in guest oftheDuke andDuchessofDevonshire, Waterford several timesduringthe1960s,asa Street, . 1953 1952 Interior inPaddington (1951). 1951 1950 (1949). father to Annie,theartist paints Self-Portrait Meets the painter ,with Paints AFilly(1970),depicting ahorse he Moves to Gloucester Terrace, Paddington. Moves to Clarendon Crescent, Paddington. Paints Woman animportant Smiling, JoinsMarlborough Fine Art. WithFrancis Bacon andBenNicholson, MarriesCaroline. Takes ahouseinDean Elopesto Paris withCaroline Blackwood. Winsanaward from theArtsCouncilfor JoinstheHanover Gallery. Makes several trips to Europe: to 8 12 10 Stays at Lismore Castle, Co. 13 9 Healsoexchanges 14 11 , andhimself. Frank Auerbach,Francis Bacon, LucianFreud, associated withthepainters MichaelAndrews, the term “SchoolofLondon”whichbecomes Clay. Inhisessay for thecatalogue, Kitaj uses Arts Councilat theHayward TheHuman Gallery: 1976 She diesaged 93. 1989 National Gallery, London. 1987 Esther (1987-1988)continue thisrich vein. Painter andModel(1986-1987). Bellaand 1986), Two IrishmeninW11(1984-1985), (Self-Portrait) (1985).DoublePortrait (1985- paintings ofFreud’s mother, and Reflection 1984-1985 continues to behisagent. Anthony d’Offay Gallery. JamesKirkman 1983 than  1982 Antoine Watteau’s Pierrot Content (c.1712). Commedia dell’arte (c.1712),inspired by Jean young sitter namedStar complete themodern on thefar left. Theartist’s daughter Bellaanda mother oftheartist’s sonFrank (born1984)is the right ofhersonKai. CeliaPaul, future Boyt, motheroffour ofFreud’s children, sitsto is Freud’s most monumental work to date. Suzy 1981-1983 in NottingHill. 1977 nature.” been apleasure to me.’ He’s got aphilosophical ‘walking down aroad, sittinginachair, has year ormore) andever sincethen,hesays, was very ill(hadto beinasanatorium for a he wouldn’t even rest. Whenhewas 17he “He’d sitandsixorseven hours at astretch; first painting ina key series. Freud comments: Girl (1975-1976),andHeadoftheBigMan, with bodyandtexture. Completes Headofa 1975 London andtouring. 1974 d’Offay Gallery. his dealerJamesKirkmanandjoinstheAnthony (1976). Freud leaves Marlborough FineArtwith (1975) andThePainter’s MotherResting I which willincludeThePainter’s MotherReading mother, Lucie, tobegins sitfor anongoing series 1972 R.B. Kitaj R.B. curates anexhibition for the Freud draws hismotherfor thelast time. SelectsTheArtist’s Eye exhibition atthe Appointed CompanionofHonour. Leaves Takes upetching again after a gap ofmore Moves to HollandPark, butkeeps astudio Beginsto useCremnitz white, aleadwhite First retrospective at theHayward Gallery, Moves to Thorngate Road, MaidaVale. His thirty years. 15 Othericonic works includethefinal Large Interior, W11(after Watteau) resources student andteacher Freud Project IMMA Collection 16 20 (2000), isfrom thesameseries. by Constable’s Study. HeadofaNaked Girl Portrait Standing (1999-2000),isalsoinspired has admired for many years. His earlierNaked the Trunk ofanElmTree (c.1821)whichFreud is inspired by asmallwork at Studyof theV&A, Paris. Theetching After Constable’s Elm(2003) 2002 donated to theRoyal Collection. 2001 photographic portraits ofLucianFreud. David Dawson beginshisextensive seriesof level ofdetail andtexture; her Pluto T-Shirt (1995)withitsextraordinary finest etchings throughout the1990s:Bellain 1995-1999 treasured resource throughout theartist’s life. Received asagift at theage ofseventeen, itisa Geschichte Aegyptens, (pub.Phaidon1936). (1994). Thebookdepicted isJ. H.Breasted’s completes anetching, TheEgyptian Book 1994 Completes afull-length naked self-portrait. for two ofhermonumental naked portraits. isthetitle whose jobtitleBenefits Supervisor Bowery’s friendandbiographer SueTilley, 1993 1992 Alice andtheartist Cerith Wyn Evans. of Lucian’s daughter Ibwithherbaby daughter reclining naked alongsideaseparate drawing etching Four Figures (1991)portrays Leigh short by Bowery’s earlydeath in1994.The the modelfor anotherrenowned series,cut , theperformance artist, becomes friend, andoneofhismost consistent sitters. David Dawson. HewillbeFreud’s assistant, Kirkman, meets thepainter andphotographer 1990-1991 the Chardin intheNational Portrait Gallery. (c. 1736).Allare madeby night infront of inspired by Chardin’s TheYoung Schoolmistress The result istwo paintings andtwo etchings Encounters at theNational Gallery, London. 2000 Irishman (1999). His brother isdepicted inHeadofaYoung (1999) andfor anetching withthesametitle. sits again for hisportrait inHeadofanIrishman 1999 family. artist’s daughter, Rose, withherhusbandand Family (1998)isanambitiousset pieceofthe Head ofAli(1999),theartist’s son.The Pearce Reflection (1996), David Dawson (1998)and Completes Portrait ofthe Queen,whichis After two paintings ofthesamesubject, Awarded theOrder ofMerit.Paints JoinsAcquavella Galleries,New York. Contributes to anexhibition entitled Theyoung sonfrom Two IrishmeninW11 Selects Constable for theGrand Palais, IMMA Continues to produce someofhis Through hisartdealer, James 17 Self-Portrait: 18

New York inApril. works onpaper, moving to Acquavella Galleries, most comprehensive survey ever ofFreud’s London unveils LucianFreud: Drawings, the 17 February 2012 Worth, Texas inJuly. moving to theModern ArtMuseumofForth opens intheNational Portrait Gallery, London; 9 February 2012 Dawson Eli. andhisdog, Portrait oftheaportraitHound, double ofDavid painting remains ontheeaselunfinished: 20th July2011 for alate naked portrait. 2011 portrait. 2008 Man, Profile (2007). Naked Portrait (2006-2007).Paints Donegal as well asnew modelssuchasRiaKirby: Ria, continues to work from family andclosefriends of LucianFreud’s work at Freud IMMA. 2007 completes anetching ofthesamesitter in2007. a new sitter: Donegal Man(2006).Freud Bowles, TheBrigadier (2003-2004),introduces (2006). AnoldfriendofLucian’s, Andrew Parker dealer WilliamAcquavella, TheNew Yorker painting andan etching ofhisNew York art Continues hisseriesofmaleheadswitha 2006 of hiswittiest self-portraits. Surprised by aNaked Admirer isexecuted; one etching, Portrait Head(2005).ThePainter is thesubjectofManinaBlueScarf andan 2004-2005 Dawson’s photographs ofLucian. Portrait Gallery, London,hosts ashow ofDavid his grandson, AlbieMorrissey. TheNational Albie (2003-2004),anaffectionate portrait of (2003) andSolicitor’s Head(2003).Completes Gurland whoisthemodelfor Naked Solicitor 2003-2004 Theartist Perienne Christian isthemodel Therestaurateur SallyClarke sitsfor her Catherine Lampertcurates aretrospective Completes EliandDavid (2005-2006). MartinGayford, artcriticandfriend, Meets theBrighton lawyer Marilyn LucianFreud dies.Hisfinal Amajorexhibition ofhis work TheBlain|Southerngallery in 18 Broadley, op.cit.(NPG,2012),p.32. of ModernArt,New York, 2007),p.31. (Museum 17 ThePainter’s Etchings’, Starr Figura, thema-london-humanclay.html 16 http://www.db-artmag.com/archiv/04/e/ 15 Feaver, op.cit.(2005),p.36. London, 2012),p.26. by Rosie Broadley, (National Portrait Gallery, 14 ‘LucianFreud: Painting People’ Chronology Nevin, Butler, Lismore Castle, Co.Waterford. 13 Telephone conversation, 7.9.16,withDenis 12 Ibid.,p.35. 11 Feaver, op.cit.,(2005),p.35. 10 Schoenberger, op.cit.,p95. op.cit.,p.136. 9 Gowing, 2001; Phoenix,London,2002),p.94. Nancy Schoenberger, (Weidenfeld &Nicolson, Blackwood’, 8 ‘Dangerous Muse,ALife ofCaroline 7 Moroney, op.cit.p.82. Museum ofModernArt,Dublin,2007),p.43. 6 ‘LucianFreud’, Catherine Lampert,(Irish p. 82. Moroney, (IrishArtsReview, Summer, 2007), 5 ‘LucianFreud, Prophet ofDiscomfort’, Mic 4 ‘LucianFreud’, Lawrence 1982),p.29. Gowing, York, 2007),p.7. 3 ‘LucianFreud’, WilliamFeaver, (Rizzoli, New 2008), p.7. Richard Calvocoressi, (Jonathan Cape,London, Sebastian Smee©2008,withanessay by Inroduction2 ‘LucianFreud by on Paper’ (Electa, Milan,2005), p.34. 1 ‘Freud at theCorrer: 50Years’, WilliamFeaver, ENDNOTES resources student andteacher Freud Project IMMA Collection 21 What are thesecurityissuesfor thisexhibition? Security tours, etc.? Are there labelsand/or wall texts, gallery guides, guided the reception desk,onthe website, over thephone, etc.? about theexhibition are available inthe spaces, gallery at What kindsofinformation, reading and resource material Information, Reading and Resource Material What are theeffects ofthelighting? artificial, bright, low, spotlight, theatrical? What kindoflighting isusedinthe exhibition – daylight, Lighting Where isitsituated? What kindofseating is available? contemplate theworks? Is there seating for visitors to sitand rest and/or Seating information. Consider thefollowing interms ofaccess:space,lighting, Are there any obstacles to getting around thespaces? Is itpossibleto get closeto theartworks? How dovisitors findtheir way through the exhibition? Access exhibition? How is/are thetheme/s presented throughout the Is there atheme/s to theexhibition? Describe thespacesofexhibition? What isthelayout oftheexhibition? How are theartworks displayed? Display How many rooms andfloors doesthe exhibition comprise? etc.? What kindofexhibition spaceisit–new, old, renovated, Exhibition Space Use thefloorplan to mapoutthe exhibition indicating the following: Mapping theexhibition IMMA resources student andteacher Freud Project IMMA Collection 22 IMMA o o o o o o o o Encourage students to: impressions. Try to facilitate adiscussionthat takes account ofthestudent’s observations and works. Provide factual andcontextual information abouttheartist, the exhibitionandtheart how thecontext influences how we look at such work. the artworks before they learnaboutthecontext oftheworks, sothat they can consider With thisexhibition, ifpossible,try to provide anopportunity for the students to look at Provide time for the students to look at andbecome familiar withtheart works. Suggestions for teachers political/historical/cultural context. such asliterature, film,musicandpopular cultural references; thesocial/ - consider thebroader context oftheartist’s work: thecultural context Research theartist andthe exhibition: identify aspectsofthe exhibition they considersuccessful and unsuccessful make comparisons withotherartists andart works think aboutthematerials andtechniques theartist usesinhis/her work support theirimpressions andobservations with examples discuss theirimpressions andobservations make visualandwritten notes aboutthe exhibition spend sometimelooking at theart works before beginningadiscussion resources student andteacher Freud Project IMMA Collection 23 IMMA © TheLucianFreud Archive /Bridgeman Images Collection IrishMuseumofModernArt Starr Figura,Lucian Catherine Lampert, London, 2008. Sebastian SmeeandRichardCalvocoressi, Cecile Debray, Thames &Hudson,London,2010. Martin Gayford, Sarah Howgate, 2013. Sabine HaagandJasperSharp, David Dawson, , Dr. VirginiaButton, Further readingandresources Lucian FreudandSebastianSmee, York, 2007. Catherine Lampert, 1996. Bruce BernardandDerekBirdsall(Editors ,LucianFreud and DavidDawson,Knopf,NewYork, 2006. Produced byLisaMoran,Curator:EngagementandLearning Patricia Brennan,ResearchAssistant:VisitorEngagementTeam Felicia Tan, Registrar:Collections Nuria Carballeria,AssistantCuratorCollections:CareandAccess Johanne Mullen,CollectionProgrammer Christina Kennedy,SeniorCurator:HeadofCollections Acknowledgements www.tate.org.uk/art/artists/lucian-freud-1120 2002 exhibitionatTate Britainincludingaroomguide Web resources , , LucianFreud:L’Atelier, CentrePompidou,Paris,2010. Breakfast withLucian:APortraitoftheArtist, A Painter’sProgress:PortraitofLucianFreud, Lucian Freud:Paintings, Man withaBlueScarf:OnSittingfor aPortraitbyLucianFreud, Lucian FreudPortraits, Lucian Freud, LucianFreud:recentwork, Lucian Freud, Freud: ThePainter’sEtchings, Lucian Freud, , Rizzoli,NewYork, 2007 LucianFreud, Thames andHudson,London1982. IrishMuseumofModernArt,Dublin,2007. Tate Publishing,London,2015. FreudatWork, National PortraitGallery,London,2012. Thames andHudson,London1988. ), LucianFreud, LucianFreudonPaper, JonathanCape, KunsthistorischesMuseum,, WhitechapelArtGallery1993. The MuseumofModernArt,New Photographs byBruceBernard Jonathan Cape,London Vintage, London,2015. Knopf,2014. resources student andteacher Freud Project IMMA Collection 24 IMMA Notes resources student andteacher Freud Project IMMA Collection 25