LUCIAN FREUD (1922-2011)
etching, on Somerset Satin paper, 1991-92, signed in pencil, numbered 10/40 (there were also ten artist's proofs), published by Matthew Marks Gallery, New York, with full margins, in very good condition, framed
Image: 27 ½ x 21 ½ in. (698 x 546 mm.)
Sheet: 31 1/8 x 24 ¾ in. (791 x 629 mm.)
Hartley 45; Figura 64

Lot Essay

‘I work from the people that interest me, and that I care about, in rooms that I live in and know. I use the people to invent my pictures, and I can work more freely when they are there.

One of the most striking aspects of Lucian Freud’s career as an artist was his almost exclusive use of friends, family and patrons as subjects and models for prints and paintings. Conveniently, Freud’s famously complicated and fruitful love-life produced a large cast from which he could draw. One of these was Kai Boyt, who Freud considered his stepson. Kai’s mother, fellow painter Suzy Boyt, met Freud as a student while he taught at the Slade School of Fine Art. Their affair produced five children and ten half-siblings, including Kai’s half-brother, Alexander (Ali) Boyt. As a youth, Kai appeared in Freud’s masterpiece - Large Interior, W11 (After Watteau) as the adolescent male subject claustrophobically surrounded by women absorbed in various activities. Nearly a decade later, Freud tapped Kai for a series of paintings and one of the largest etching’s in the artist’s graphic oeuvre (lot 82). The combination of cross-hatch shading and down-turned and evasive eyes suggests Kai’s self-conscious discomfort with being the artist’s subject.

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