Big Sue Tilly Benefits Superior Sleeping
Lucian Freud was a German- born British painter. He is known for his thickly impasto portrait and figure painting Smith, Roberta 2007). His works are noted for their often discomforting examination of the relationship between artist and model (Smith, Roberta 2007). From the 1950’s he began to work in portraiture, often nudes, through his first full length nude was not painted until 1966 according to (NPG2012). Freud’s portraits often depict only the sitter, sometimes sprawled on the floor or no a bed but the one painting that impressed me and also is very beautiful is the portrait, Benefits Supervisor Sleeping, 1995. Freud’s, Benefits Superior Sleeping 1995, oil on canvas painting depicting an obese, naked woman lying on a couch and the portrait of Sue Tilly, weighing about one hundred twenty-seven kilograms two hundred eighty pounds. The painting was exhibited twice at flowers Gallery in 1996; Naked-flowers East at London Fields and 1997 in British Figurative Art-part 1: painting at flowers east painting (July 25, 2011). The painting held the world record for the highest price paid for a painting by living artist. According to
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In this painting the head would become another limb; the surface of the body would be mottled, varicose, bulked up, and roughed over. He experimented with Surrealism. He brought value from the left to the right of the couch to the face and her body. The lines are very vivid and dramatic in this painting. According to Tilly, Lucian Freud painting from life, “he spent a great deal of time with one subject, and demanding the model’s presence even while working on the background of the
In this painting the head would become another limb; the surface of the body would be mottled, varicose, bulked up, and roughed over. He experimented with Surrealism. He brought value from the left to the right of the couch to the face and her body. The lines are very vivid and dramatic in this painting. According to Tilly, Lucian Freud painting from life, “he spent a great deal of time with one subject, and demanding the model’s presence even while working on the background of the