Few painters of modern times have received the honors and riches that came to Lucian Freud, the deeply talented and mysterious grandson of Sigmund Freud.
Often considered the greatest living master of the human form, Freud painted many hundreds of portraits that were seldom flattering but that revealed their subjects in searing, sometimes brutal honesty that might have made his grandfather proud.
But he wasn’t just the heir of the father of psychiatry. He managed to re-create and expand the tradition of classical portraiture in his paintings, which penetrated masks of pretense and seemed to pierce to the soul.
Freud, who died Wednesday in London at 88, had found moderate success in Britain early in his career. He was a leading figure, along with Francis Bacon, in the London School of painters of the 1960s who concentrated on the human form.
It wasn’t until a 1987 retrospective at Washington’s Hirshhorn Museum that Americans began to notice the depth and power of Freud’s work. A new continent of art lovers was astonished by paintings that seemed to defy prevailing conventions, as well as time itself.
“They stop you where you stand,” Washington Post critic Paul Richard wrote at the time. “It is as if gravity itself had somehow been increased. … Freud’s pictures have a sense of time expanded, not easily explained. Anchored to the present, they seem to preexist the photograph.”
Time magazine critic Robert Hughes called Freud “the greatest living realist painter.”
From then on, despite frequent feuds with galleries and his reluctance to be interviewed, Freud became an art-world sensation.
He slathered paint onto canvases in thick layers of impasto, creating a brushwork style that seemed to echo the heaviness of the figures he represented. Girth deepened into gravity in a Freud portrait, and the disturbing grays, greens and purples blending with pinks and other flesh tones only added psychological depth to his figures.
Freud’s paintings have a rough incandescence, an oxymoronic ugly beauty from which people can not avert their eyes – or close their wallets. In 2008, his portrait “Benefits Supervisor Sleeping” was sold by the New York branch of Christie’s auction house for $33.6 million – the most ever paid for a painting by a living artist.
Many of his works, including self-portraits, showed his figures in the nude — or “naked,” the term he preferred. He sometimes asked his subjects back for as many 80 sittings, coaxing them out of their clothes under a harsh light during intimate, all-night sessions.
Often irascible with the press, Freud could be charming and solicitous — almost therapeutic — to his portrait subjects. Posing for him, one model told Britain’s Express newspaper in 2008, it “felt like being an apple in the Garden of Eden. When it was over, I felt as if I had been cast out of Paradise.”
He often painted people with their pets, with the animals usually looking more dignified than their owners. His works were frequently very small — a 1998 portrait of a pregnant Jerry Hall, then the girlfriend of Mick Jagger, was four by six inches — but other portraits measured several feet across.
Some of his famous subjects, such as Hall and model Kate Moss, were well known, but Freud more often portrayed his otherwise little-known friends, relatives and lovers, of whom there were many. He turned down requests from Princess Diana and Pope John Paul II, but he completed a portrait of Queen Elizabeth II in 2001.
“At one point I remember saying to [the queen], ‘You probably think I’m going incredibly slowly,” Freud told the London Times in 2006, “ ‘but in fact I’m going at 90 miles an hour and if I go any faster the car might overturn!’ “
Freud’s cause of death was not disclosed.