A new show places Freud and Ba­con amid can­vases by lead­ing fe­male fig­u­ra­tive pain­ters

Town & Country (UK) - - TOWN -

Iwant the paint to work as flesh does,’ said Lu­cian Freud of his mis­sion as a por­traitist. That urge to cap­ture the pure essence of hu­man life – both its phys­i­cal and emo­tional di­men­sions – lies at the heart of Tate Bri­tain’s new ex­hi­bi­tion, which presents im­por­tant pieces by Freud and his con­tem­po­rary Fran­cis Ba­con. As well as re­veal­ing the pair’s con­trast­ing tech­niques (Freud worked from life, whereas Ba­con fre­quently drew in­spi­ra­tion from pho­to­graphs), the dis­play sets their oeu­vre in the broader con­text of fig­u­ra­tive paint­ing, with a fo­cus on the pi­o­neer­ing role of women artists such as Paula Rego, Celia Paul and Lynette Yi­adom-boakye. frances hedges ‘All Too Hu­man: Ba­con, Freud and a Cen­tury of Paint­ing Life’ is at Tate Bri­tain ( from 28 Fe­bru­ary to 27 Au­gust.

clock­wise from left: lynette yi­adom­boakye with her con­fi­dences (2010). paula rego with her blind sis­ter (2014). lu­cian freud’s girl with a white dog (1950–1951). freud at work on al­bie (2003–2004) fran­cis ba­con in his stu­dio in 1966. bot­tom: ba­con’s...

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