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This programme contains some strong language. | 0:00:02 | 0:00:08 | |
If you put your knee forward. Yeah, absolutely. | 0:00:13 | 0:00:17 | |
(Absolutely...) | 0:00:18 | 0:00:19 | |
At 88, Lucian Freud still wanted to paint every day | 0:00:19 | 0:00:23 | |
in the quiet of his studio. | 0:00:23 | 0:00:24 | |
(I do.) | 0:00:25 | 0:00:26 | |
These shots were filmed by his trusted assistant, David Dawson, | 0:00:34 | 0:00:38 | |
as he posed for Freud's final painting... | 0:00:38 | 0:00:41 | |
Quite. | 0:00:41 | 0:00:42 | |
..and is the first time this secretive man | 0:00:44 | 0:00:46 | |
has been filmed working. | 0:00:46 | 0:00:48 | |
It is also what turned out to be the very last day he ever painted. | 0:00:51 | 0:00:55 | |
Only a few days later, | 0:01:05 | 0:01:07 | |
on 20th July last year, | 0:01:07 | 0:01:09 | |
the artist Lucian Freud died. | 0:01:09 | 0:01:11 | |
(I do.) | 0:01:12 | 0:01:14 | |
(I do.) | 0:01:17 | 0:01:18 | |
He was acclaimed only in the last quarter of his life. | 0:01:29 | 0:01:32 | |
He was famous for mercilessly explicit paintings. | 0:01:35 | 0:01:39 | |
Notorious for sex with young women in old age, | 0:01:45 | 0:01:48 | |
and for a surprising number of children. | 0:01:48 | 0:01:51 | |
Some like to say as many as 40 | 0:01:51 | 0:01:53 | |
but, in reality, more like 14. | 0:01:53 | 0:01:55 | |
Lot 37, Lucian Freud, Benefit Supervisor Sleeping. | 0:01:59 | 0:02:02 | |
And celebrated for breaking world records at auction. | 0:02:02 | 0:02:06 | |
30 million. | 0:02:06 | 0:02:08 | |
At 30 million. | 0:02:08 | 0:02:09 | |
These headlines are endlessly recycled | 0:02:10 | 0:02:12 | |
because the artist gave little away. | 0:02:12 | 0:02:15 | |
Despite his late, uninvited exposure, | 0:02:23 | 0:02:26 | |
for most of his life, Lucian Freud was almost invisible. | 0:02:26 | 0:02:30 | |
And always elusive. | 0:02:30 | 0:02:32 | |
-OK, now we're going to just drop it down. -Buffer it on your feet... | 0:02:39 | 0:02:43 | |
Good boy. Are you all right, mate? | 0:02:51 | 0:02:54 | |
MUSIC PLAYS IN BACKGROUND | 0:03:07 | 0:03:12 | |
# Do not forsake me, oh, my darlin' | 0:03:12 | 0:03:16 | |
# On this our wedding day | 0:03:18 | 0:03:23 | |
# Do not forsake me oh my darling... # | 0:03:23 | 0:03:29 | |
It's a few weeks after Lucian's death. | 0:03:29 | 0:03:32 | |
His assistant, David Dawson, is still caught up | 0:03:32 | 0:03:34 | |
in the strands of his life. | 0:03:34 | 0:03:36 | |
Sharpened by a sense of loss, | 0:03:37 | 0:03:39 | |
memories of the artist and his paintings are surfacing | 0:03:39 | 0:03:42 | |
amongst his lovers, family and friends. | 0:03:42 | 0:03:45 | |
They talk with the same uncompromising honesty with which Freud painted them... | 0:03:47 | 0:03:52 | |
..revealing the romantic passion which fused his life with his art. | 0:03:53 | 0:03:58 | |
LUCIAN FREUD: 'My preferred subject matter are humans. | 0:04:01 | 0:04:06 | |
'I'm really interested in them as animals, | 0:04:07 | 0:04:10 | |
'and part of liking to work from them naked is partly for that reason.' | 0:04:10 | 0:04:15 | |
When you're with him one-on-one, | 0:04:18 | 0:04:20 | |
it was the most intimate, intense level of friendship. | 0:04:20 | 0:04:24 | |
Completely in the moment | 0:04:25 | 0:04:29 | |
about what was happening around you, | 0:04:29 | 0:04:31 | |
and that's all that mattered. | 0:04:31 | 0:04:33 | |
He was electric. | 0:04:42 | 0:04:44 | |
And everything about him was electric, | 0:04:44 | 0:04:47 | |
and so one was stimulated immediately. | 0:04:47 | 0:04:49 | |
Just the way he walked into a room and the way he breathed, | 0:04:49 | 0:04:53 | |
he would breathe like an animal that's excited. | 0:04:53 | 0:04:56 | |
And he was very animal and feral | 0:04:56 | 0:05:00 | |
and he did exactly what he wanted. | 0:05:00 | 0:05:04 | |
I think he was very shy, actually. | 0:05:09 | 0:05:11 | |
Quite shy. | 0:05:11 | 0:05:13 | |
Obviously loved women, so he's not so shy with them. | 0:05:13 | 0:05:16 | |
He was always chasing girls. I mean, he'd spent a lot of time doing that. | 0:05:17 | 0:05:21 | |
He was a bit of a show-off, I would say. | 0:05:25 | 0:05:28 | |
But a show-off with all the desires | 0:05:28 | 0:05:31 | |
of not being noticed. | 0:05:31 | 0:05:33 | |
But equally wanting to be noticed, so it's a contradiction. | 0:05:33 | 0:05:37 | |
He used to get into fights all the time, | 0:05:41 | 0:05:44 | |
and he very easily took against things | 0:05:44 | 0:05:47 | |
in a way that I thought was delightful, I really admired. | 0:05:47 | 0:05:50 | |
You know, the way he would just suddenly decide | 0:05:50 | 0:05:53 | |
that something really pissed him off was superb | 0:05:53 | 0:05:57 | |
because there was nothing half-hearted about his responses to things. | 0:05:57 | 0:06:01 | |
On one occasion, | 0:06:06 | 0:06:08 | |
he was in this punch-up with this man in Marylebone High Street, | 0:06:08 | 0:06:11 | |
and the man was much bigger than him | 0:06:11 | 0:06:14 | |
and he'd pinned Lucian to the pavement | 0:06:14 | 0:06:17 | |
and was absolutely going berserk and punching Lucian. | 0:06:17 | 0:06:21 | |
Lucian, at this point, having given as good as he'd got up till then, | 0:06:21 | 0:06:25 | |
just kind of lay back as though he was on a beach | 0:06:25 | 0:06:29 | |
and became completely passive, as though it was happening to somebody else. | 0:06:29 | 0:06:33 | |
And I think Lucian had this kind of animal instinct | 0:06:33 | 0:06:38 | |
to know how to play life, really. | 0:06:38 | 0:06:42 | |
RACING ANNOUNCER: 'The back of the field at this stage, is six lengths off the pace. | 0:06:46 | 0:06:51 | |
'Valedictor has taken over now but only has a narrow advantage as they reach the halfway point...' | 0:06:51 | 0:06:55 | |
Do you remember once | 0:06:55 | 0:06:56 | |
he lost, I think, nearly a million pounds in one afternoon | 0:06:56 | 0:07:00 | |
and another afternoon he won a million. We said, "Brilliant." | 0:07:00 | 0:07:03 | |
He said, "Well, actually, I owe four million, so it's not all that good!" | 0:07:03 | 0:07:07 | |
-The motive, I think, was to lose everything... -Yeah. | 0:07:10 | 0:07:13 | |
..and that somehow triggered him off to be able to then paint cos there's no other distractions. | 0:07:13 | 0:07:17 | |
And then as the price of his paintings increased, | 0:07:19 | 0:07:22 | |
there was just too much money involved. | 0:07:22 | 0:07:25 | |
He couldn't get rid of it all and then that's when he lost interest. | 0:07:25 | 0:07:28 | |
Lucian Freud sacrificed everything for his painting, | 0:07:32 | 0:07:35 | |
happy to be feared, if that kept the world at bay. | 0:07:35 | 0:07:39 | |
He kept his private life as mysterious as possible. | 0:07:42 | 0:07:45 | |
What he wants us to know is all there in the painting. | 0:07:47 | 0:07:50 | |
Evidence of what he saw... | 0:07:52 | 0:07:54 | |
delivered with lacerating honesty. | 0:07:55 | 0:07:57 | |
The paintings often disturb and yet enchant us too with their intensity. | 0:08:02 | 0:08:06 | |
And that disturbing intensity was there from the start, in his family | 0:08:11 | 0:08:15 | |
and with his mother. | 0:08:15 | 0:08:18 | |
He always said that he really couldn't stand his mother - | 0:08:20 | 0:08:23 | |
she used to hoard his love letters that she found. | 0:08:23 | 0:08:26 | |
She used to write to girlfriends asking for love letters so she could put them in her drawer. | 0:08:26 | 0:08:30 | |
She was intrusive, she was instinctive, he said, | 0:08:30 | 0:08:33 | |
and by that he meant her instincts were to know what he was up to | 0:08:33 | 0:08:37 | |
and he didn't want her to know what he was up to. | 0:08:37 | 0:08:40 | |
Lucian was born in Berlin in 1922, | 0:08:43 | 0:08:48 | |
and from the outset, his mother encouraged his talent. | 0:08:48 | 0:08:52 | |
She hoarded all his childhood drawings. | 0:08:52 | 0:08:55 | |
He was her favourite and she named him after herself, Lucie. | 0:08:59 | 0:09:03 | |
Lucian. | 0:09:05 | 0:09:06 | |
When Lucian was born, his father Ernst set off almost immediately | 0:09:10 | 0:09:16 | |
to the mountains and left Lucie and Lucian alone. | 0:09:16 | 0:09:19 | |
As a mother, I know how important those first few months are - | 0:09:19 | 0:09:22 | |
you're just completely wrapped up in your baby. | 0:09:22 | 0:09:26 | |
And there's no doubt that she was very connected to him. | 0:09:26 | 0:09:31 | |
When he was 18, her made a drawing of her. | 0:09:32 | 0:09:35 | |
He wouldn't make another image of her for 30 years. | 0:09:36 | 0:09:40 | |
What did he make of his father? | 0:09:42 | 0:09:44 | |
Ernst Freud was a successful architect. | 0:09:45 | 0:09:48 | |
In the late '20s, Berlin was at the forefront of modern design. | 0:09:48 | 0:09:53 | |
Today, his cigarette factory is still standing. | 0:09:58 | 0:10:02 | |
And in Potsdam, his fashionable weekend retreat for a banker client, | 0:10:06 | 0:10:11 | |
modernism in brick, has been restored. | 0:10:11 | 0:10:15 | |
Ernst was a society architect. | 0:10:16 | 0:10:19 | |
Lucian found him boring. | 0:10:20 | 0:10:23 | |
I think my first memory is of us all | 0:10:23 | 0:10:26 | |
sitting on the floor in our nursery with a diabolo, | 0:10:26 | 0:10:30 | |
one of these things, a piece of string with a sort of... | 0:10:30 | 0:10:34 | |
waisted object in the middle which you'd try to roll along it | 0:10:34 | 0:10:38 | |
and bounce up in the air. | 0:10:38 | 0:10:40 | |
We all vied with each other to do it best. | 0:10:40 | 0:10:44 | |
The family apartment was full of his father's trendy furniture. | 0:10:46 | 0:10:50 | |
But on the wall is a print of a painting by Titian, | 0:10:54 | 0:10:58 | |
an artist who was become one of Lucian's absolute favourites. | 0:10:58 | 0:11:03 | |
We were dragged to museums nonstop. | 0:11:04 | 0:11:07 | |
-Do you think Lucian was taken off to museums? -Oh, I'm certain. | 0:11:07 | 0:11:11 | |
I mean, that went with the period in which we lived | 0:11:11 | 0:11:15 | |
and the people who were our family - | 0:11:15 | 0:11:19 | |
art and music played a HUGE role. | 0:11:19 | 0:11:23 | |
In later life, Lucian denied being taken to the great Berlin galleries. | 0:11:24 | 0:11:28 | |
He rarely talked about his influences. | 0:11:28 | 0:11:31 | |
He refused any sort of label. | 0:11:31 | 0:11:34 | |
But he did talk about his affinity with animals, | 0:11:34 | 0:11:36 | |
and in particular, horses. | 0:11:36 | 0:11:38 | |
He did say that as a child, | 0:11:56 | 0:11:57 | |
he used to go to the grand house called Gaglow. | 0:11:57 | 0:12:00 | |
There were horses there, and I think he once said that there was a fire | 0:12:00 | 0:12:05 | |
and that he remembered the distress of the horses | 0:12:05 | 0:12:08 | |
and how important it was to let the horses out. | 0:12:08 | 0:12:10 | |
For the young Lucian, horses were a comfort, | 0:12:16 | 0:12:19 | |
a way of escaping the world. | 0:12:19 | 0:12:22 | |
LUCIAN FREUD: 'I was always alone and I always wanted to be. | 0:12:25 | 0:12:30 | |
'My mother said my first word was "alleine", which means "alone", | 0:12:30 | 0:12:34 | |
'leave me alone. I always liked being on my own.' | 0:12:34 | 0:12:37 | |
The reassurance he found with animals is missing with humans. | 0:12:41 | 0:12:44 | |
Lucian's early attempts to cope with his conventional wealthy parents | 0:12:50 | 0:12:54 | |
in Berlin would not last long. | 0:12:54 | 0:12:56 | |
Lucian was a German Jew. | 0:12:58 | 0:13:00 | |
DISTANT CHANTING | 0:13:00 | 0:13:02 | |
After "the very small man" came to power early in 1933, | 0:13:17 | 0:13:22 | |
Jewish businessmen became a target. | 0:13:22 | 0:13:25 | |
Lucian's uncle, Rudolf Mosse, | 0:13:27 | 0:13:30 | |
was one of the very first to be singled out. | 0:13:30 | 0:13:33 | |
Lucian knew him. | 0:13:38 | 0:13:39 | |
They would've gone to his house near Berlin. | 0:13:39 | 0:13:42 | |
Rudy was arrested at five in the morning | 0:13:43 | 0:13:47 | |
in his home. | 0:13:47 | 0:13:49 | |
He was marched off minus braces, minus belt, minus shoelaces. | 0:13:50 | 0:13:56 | |
The indication was very clear - | 0:13:56 | 0:13:59 | |
you're not going to enjoy where you're going. | 0:13:59 | 0:14:02 | |
What then happened, nobody really knows... | 0:14:02 | 0:14:06 | |
..other than he died. | 0:14:07 | 0:14:09 | |
Ernst and Lucie Freud reacted to the murder immediately. | 0:14:12 | 0:14:16 | |
On 12th August 1933, immigration papers show Ernst addressed in London | 0:14:19 | 0:14:23 | |
where he planned the family escape. | 0:14:23 | 0:14:26 | |
They were leaving security... | 0:14:28 | 0:14:30 | |
..and a very easy life | 0:14:31 | 0:14:33 | |
for a totally unknown factor. | 0:14:33 | 0:14:36 | |
That autumn in England, Lucie arrived and sent Lucian to board | 0:14:38 | 0:14:41 | |
at Dartington Hall, a progressive school in Devon. | 0:14:41 | 0:14:45 | |
Lucian could not speak English. | 0:14:48 | 0:14:50 | |
But Dartington Hall had stables - that is where he said he decided to sleep... | 0:14:51 | 0:14:55 | |
..on his own. | 0:14:56 | 0:14:58 | |
He was a natural horseman. | 0:15:01 | 0:15:03 | |
When he was at school, | 0:15:03 | 0:15:05 | |
they realised he wasn't a very normal pupil | 0:15:05 | 0:15:09 | |
and he was put in charge of the animals, which he loved | 0:15:09 | 0:15:13 | |
because he had a extraordinary affinity with dogs, or even birds. | 0:15:13 | 0:15:17 | |
You were allowed to do what you wanted at Dartington, and what he chose to do | 0:15:19 | 0:15:22 | |
was spend time with the horses. | 0:15:22 | 0:15:24 | |
He once said that the man who looked after the horses, the groom, | 0:15:24 | 0:15:28 | |
was the first person that he really loved. | 0:15:28 | 0:15:31 | |
'Since you didn't have to go into school, I took it literally | 0:15:34 | 0:15:38 | |
'and I got up at five or six and helped the farmer milk the goats | 0:15:38 | 0:15:42 | |
'and do various other things so I could have the horses I liked. | 0:15:42 | 0:15:46 | |
'So I used to ride nearly all day and I got further and further behind.' | 0:15:47 | 0:15:52 | |
His handwriting looks like an idiotic child | 0:16:01 | 0:16:05 | |
has sort of written it - it's so awkward. | 0:16:05 | 0:16:08 | |
I remember receiving this letter | 0:16:08 | 0:16:10 | |
inviting me to meet up and have lunch with him | 0:16:10 | 0:16:13 | |
and it said Lucian Freud at the bottom and it just looked | 0:16:13 | 0:16:16 | |
so completely unlikely to be the hand of an adult person. | 0:16:16 | 0:16:20 | |
It just looks so childish. | 0:16:20 | 0:16:22 | |
In the forlorn hope that he might get a proper education, | 0:16:32 | 0:16:36 | |
Lucian's parents moved him to Bryanston School. | 0:16:36 | 0:16:40 | |
He carried on before - wilful and independent. | 0:16:40 | 0:16:44 | |
'I thought if I didn't go into the initial lessons | 0:16:44 | 0:16:46 | |
'I would never be missed because I hadn't been initially seen, | 0:16:46 | 0:16:51 | |
'so I took that too far and spent all my time at the sculpture school | 0:16:51 | 0:16:55 | |
'and carved a horse out of sandstone. I was very pleased with it.' | 0:16:55 | 0:16:59 | |
Lucian's way of being attuned to animals, | 0:17:01 | 0:17:04 | |
horses and dogs particularly, was basic, | 0:17:04 | 0:17:07 | |
central, fundamental, and every time he painted a horse or a dog, | 0:17:07 | 0:17:12 | |
this was as much a portrait as it was of the most intimate human being | 0:17:12 | 0:17:16 | |
with whom he was connected. | 0:17:16 | 0:17:18 | |
Lucian still had problems fitting in at school. | 0:17:20 | 0:17:23 | |
One day, he diverted the local hunt through Bryanston's main hall. | 0:17:23 | 0:17:27 | |
When, on a dare, he dropped his trousers in the local town, | 0:17:28 | 0:17:32 | |
he was expelled. | 0:17:32 | 0:17:33 | |
What would his parents do with him next? | 0:17:33 | 0:17:36 | |
At the age of 15, | 0:17:53 | 0:17:54 | |
Lucian's determination to do exactly what he wanted paid off. | 0:17:54 | 0:17:58 | |
He was accepted at art school on the strength of this sculpture. | 0:17:58 | 0:18:02 | |
At the same time, in the summer of 1938, | 0:18:04 | 0:18:07 | |
Lucian was filmed in London with his grandfather, Sigmund Freud. | 0:18:07 | 0:18:12 | |
The founder of modern psychoanalysis had just escaped Vienna. | 0:18:12 | 0:18:16 | |
Lucian's four great aunts | 0:18:22 | 0:18:25 | |
all died in concentration camps. | 0:18:25 | 0:18:28 | |
He was very proud of his grandfather. | 0:18:32 | 0:18:36 | |
But not of his grandfather as a psychiatrist - he had absolutely no time | 0:18:37 | 0:18:41 | |
for Freud's theories of psychology. | 0:18:41 | 0:18:44 | |
He admired his grandfather above all for being a biologist, | 0:18:44 | 0:18:51 | |
and when Freud did indeed start as a biologist, | 0:18:51 | 0:18:55 | |
and I believe made a lot of major discoveries, | 0:18:55 | 0:18:58 | |
Lucian always maintained | 0:18:58 | 0:19:00 | |
that he was the one who discovered how to tell the sex of eels - | 0:19:00 | 0:19:05 | |
nobody before Freud had realised which was a male | 0:19:05 | 0:19:08 | |
and which was a female eel. And Lucian's love of animals | 0:19:08 | 0:19:13 | |
I think came very much from his grandfather being a biologist | 0:19:13 | 0:19:18 | |
before he became a psychiatrist. | 0:19:18 | 0:19:21 | |
As a biologist, Sigmund used a microscope to make this ink drawing | 0:19:21 | 0:19:26 | |
showing the nerves of fishes. | 0:19:26 | 0:19:28 | |
Lucian looked very precisely at what interested him. | 0:19:30 | 0:19:34 | |
Sigmund analysed his patients for years | 0:19:40 | 0:19:43 | |
in the privacy of his consulting rooms. | 0:19:43 | 0:19:45 | |
Lucian scrutinised his human subjects for years | 0:19:50 | 0:19:52 | |
in the secrecy of his studio. | 0:19:52 | 0:19:54 | |
Sigmund filled his space with ancient art, | 0:20:05 | 0:20:08 | |
betrayals of the psyche and sexuality. | 0:20:08 | 0:20:11 | |
He also had two mummy portraits, | 0:20:26 | 0:20:29 | |
some of the earliest examples of a human likeness that echoed Lucian's need | 0:20:29 | 0:20:33 | |
to capture individuality and mortality. | 0:20:33 | 0:20:37 | |
As a German, a Jew and as Sigmund's grandson, | 0:20:41 | 0:20:46 | |
the young art student had a complex but rich inheritance. | 0:20:46 | 0:20:50 | |
I first met Lucian very casually. He liked to make his presence felt. | 0:20:54 | 0:20:59 | |
He was 17, I was 16. | 0:20:59 | 0:21:01 | |
He was very distinctive-looking, | 0:21:01 | 0:21:04 | |
an intense look, these very sharp features | 0:21:04 | 0:21:07 | |
and you just felt that he was sort of turned right on whenever you spoke to him. | 0:21:07 | 0:21:12 | |
He was not like the rest of us - relaxed and sloppy and silly - | 0:21:12 | 0:21:17 | |
Lucian was kind of all wired up and ready to go. | 0:21:17 | 0:21:23 | |
One felt his power, intellectual power, | 0:21:23 | 0:21:27 | |
and his sort of physical presence. | 0:21:27 | 0:21:31 | |
I can't exaggerate it too much, | 0:21:31 | 0:21:34 | |
this feeling that he was already somebody. | 0:21:34 | 0:21:37 | |
Lucian hated it when critics claimed to see influences in his work. | 0:21:39 | 0:21:43 | |
But prints by Durer hung on the wall | 0:21:43 | 0:21:47 | |
near the Titian in the family home in Berlin. | 0:21:47 | 0:21:50 | |
Actually, Lucian had an extraordinary admiration | 0:21:52 | 0:21:56 | |
for the minuteness, the amazing invention of Durer, | 0:21:56 | 0:21:59 | |
but primarily for this amazing, intense gaze. | 0:21:59 | 0:22:04 | |
Perhaps it's characteristically North European, | 0:22:04 | 0:22:06 | |
you sit and look at something in minute detail, | 0:22:06 | 0:22:09 | |
whether it's a hare, or your mother, or a lump of grass, | 0:22:09 | 0:22:13 | |
and you find each thing, not just differently fascinating, but equally fascinating. | 0:22:13 | 0:22:18 | |
If you locked him away... | 0:22:19 | 0:22:23 | |
in even a dingy motel room in America, | 0:22:23 | 0:22:28 | |
at the end of a week, he'd still come out with interesting paintings. | 0:22:28 | 0:22:33 | |
He'd find the tears on the carpet or the worn something or other | 0:22:33 | 0:22:38 | |
and he'd paint it, because he'd enjoyed looking at it somehow, | 0:22:38 | 0:22:43 | |
the difference between this and this. | 0:22:43 | 0:22:45 | |
Every element in Freud's work is intensely examined. | 0:22:47 | 0:22:51 | |
His eyes had this rather odd way of focusing on you | 0:23:16 | 0:23:21 | |
where they would stare suddenly - | 0:23:21 | 0:23:25 | |
you'd be in the middle of a conversation and suddenly | 0:23:25 | 0:23:28 | |
like that. Quite disconcerting. | 0:23:28 | 0:23:32 | |
I always sensed a sort of absence there, | 0:23:33 | 0:23:37 | |
that his eyes were looking at you, | 0:23:37 | 0:23:39 | |
but actually behind those eyes, he'd gone into some different mode. | 0:23:39 | 0:23:44 | |
He must have been late teens or early 20s, | 0:23:47 | 0:23:52 | |
and he was drawing this wonderful picture. | 0:23:52 | 0:23:57 | |
You have this incredibly intricate basketwork, | 0:23:57 | 0:24:02 | |
which is just beautiful. | 0:24:02 | 0:24:06 | |
I watched him do that and I was really astonished. | 0:24:06 | 0:24:10 | |
Lucian dropped out of his conventional art school in London. | 0:24:13 | 0:24:17 | |
He never liked being told what to do. | 0:24:17 | 0:24:19 | |
The art school he eventually went to was the only one that could have suited him | 0:24:22 | 0:24:26 | |
because it was very lazy, very louche, | 0:24:26 | 0:24:28 | |
almost a country house party in a boarding school manor. | 0:24:28 | 0:24:31 | |
It was in Suffolk and it was run by Cedric Morris and Lett-Haines | 0:24:31 | 0:24:36 | |
and they clearly saw in Lucian | 0:24:36 | 0:24:40 | |
the absolute star pupil | 0:24:40 | 0:24:42 | |
who seemed to be producing remarkable things from the world go. | 0:24:42 | 0:24:45 | |
They painted each other and it's very interesting how Cedric Morris | 0:24:45 | 0:24:49 | |
painted Lucian as a kind of squirmy, uneasy adolescent. | 0:24:49 | 0:24:53 | |
Lucian painted Cedric Morris as a mischievous, devilish, | 0:24:57 | 0:25:02 | |
very camp, with a funny little clay pipe, who was very much a grown-up, | 0:25:02 | 0:25:08 | |
but he reduced him to almost a kind of glove puppet status. | 0:25:08 | 0:25:12 | |
Under Cedric's protection, Lucian felt comfortable enough | 0:25:16 | 0:25:19 | |
to start to express his attitude towards people. | 0:25:19 | 0:25:23 | |
Six years after leaving Berlin, | 0:25:26 | 0:25:28 | |
his images derived from memory and imagination, | 0:25:28 | 0:25:31 | |
more than direct observation. | 0:25:31 | 0:25:33 | |
The tender response to the horse is missing. | 0:25:36 | 0:25:40 | |
Faces are sly or mask-like, | 0:25:44 | 0:25:48 | |
lived in or damaged. | 0:25:48 | 0:25:50 | |
Specimens of his times. | 0:25:53 | 0:25:56 | |
Cedric Morris gave his student the freedom he needed. | 0:25:56 | 0:26:01 | |
His approach to painting was a revelation. | 0:26:01 | 0:26:05 | |
-CEDRIC MORRIS: -'I got a feeling of the excitement of painting, watching him work, | 0:26:05 | 0:26:09 | |
'because he worked in a very odd way, from the top to the bottom, | 0:26:09 | 0:26:12 | |
'as if he was unrolling something which was actually there. | 0:26:12 | 0:26:17 | |
'Even when he was painting a portrait, he'd paint a background | 0:26:17 | 0:26:21 | |
'and go further down and do the whole thing in one go | 0:26:21 | 0:26:26 | |
'and never really touched the thing afterwards as far as I know.' | 0:26:26 | 0:26:30 | |
This very direct approach to capturing his subject | 0:26:32 | 0:26:35 | |
influenced Freud for the rest of his life. | 0:26:35 | 0:26:39 | |
He begins with a charcoal drawing, | 0:26:39 | 0:26:44 | |
not that much... | 0:26:44 | 0:26:47 | |
but enough to fix some essential things, the edge, | 0:26:47 | 0:26:53 | |
and then he seems to begin with the nose. | 0:26:53 | 0:26:58 | |
I think he spent a long time here building this | 0:27:02 | 0:27:08 | |
and then moved round. | 0:27:08 | 0:27:11 | |
The eyes are not put in for quite a while | 0:27:11 | 0:27:15 | |
and it would build up very slowly. | 0:27:15 | 0:27:19 | |
He mixed every tone | 0:27:19 | 0:27:22 | |
and it did occur to me at first, I thought, | 0:27:22 | 0:27:25 | |
"Well, you could've been a bit quicker | 0:27:25 | 0:27:27 | |
"if you'd pre-mixed quite a few of them, | 0:27:27 | 0:27:30 | |
"because they're quite similar, | 0:27:30 | 0:27:33 | |
"and then it wouldn't take you as long to mix it." | 0:27:33 | 0:27:36 | |
But that was when I realised I'm just thinking of myself there | 0:27:36 | 0:27:41 | |
because his method, he wants you there as long as possible | 0:27:41 | 0:27:44 | |
so why not mix every colour slowly, meaning he has more time that way? | 0:27:44 | 0:27:50 | |
Lucian settled at Cedric Morris' school, | 0:27:53 | 0:27:56 | |
but then in July 1939, it burned down. | 0:27:56 | 0:27:59 | |
Lucian claimed he'd been experimenting with smoking. | 0:28:01 | 0:28:04 | |
Two months later, war broke out. | 0:28:20 | 0:28:23 | |
Lucian could not stay at art school | 0:28:23 | 0:28:26 | |
and he couldn't face going home to be with his mother, so he went to sea. | 0:28:26 | 0:28:31 | |
He somehow found himself in the Merchant Navy on an Atlantic convoy | 0:28:37 | 0:28:43 | |
and ended up, I think it was Halifax, Canada, or Nova Scotia, | 0:28:43 | 0:28:48 | |
but he said that the worst thing on the trip out | 0:28:48 | 0:28:53 | |
was that he was thin, young, presumably rather nice-looking | 0:28:53 | 0:28:59 | |
and that some of the older sailors on the boat took a fancy to him | 0:28:59 | 0:29:05 | |
and that's when he said he learned how to defend himself. | 0:29:05 | 0:29:09 | |
The whole convoy must have come under attack. | 0:29:14 | 0:29:16 | |
One of the other ships was hit, and Lucian, | 0:29:16 | 0:29:20 | |
rather characteristically said his first reaction to this air attack | 0:29:20 | 0:29:24 | |
was, "Hooray, fireworks!" with these explosions and bright lights. | 0:29:24 | 0:29:29 | |
And then bits of body | 0:29:29 | 0:29:32 | |
and wreckage from this ship starting raining down on the ship which | 0:29:32 | 0:29:37 | |
he was on and he realised what a terrible thing had happened. | 0:29:37 | 0:29:40 | |
This prickly 19-year-old was shocked to the core. | 0:29:42 | 0:29:46 | |
Whilst at sea, he developed tonsillitis and was discharged. | 0:29:46 | 0:29:50 | |
He later painted himself ill in bed. | 0:29:50 | 0:29:53 | |
From now on, he would calculate his own risks, | 0:29:55 | 0:29:59 | |
retreat even further into his own private world, | 0:29:59 | 0:30:02 | |
and control who gained entry. | 0:30:02 | 0:30:04 | |
And he wanted to take control of the world through his pictures too. | 0:30:06 | 0:30:10 | |
Freud began taking accurate draughtsmanship to the extreme limit. | 0:30:11 | 0:30:16 | |
He started to look at his subjects with an ever greater intensity. | 0:30:22 | 0:30:26 | |
He was finding a way to preserve what was precious to him. | 0:30:39 | 0:30:42 | |
Aspects of his private life. | 0:30:45 | 0:30:47 | |
His lover's flesh, his lover's hair. | 0:30:50 | 0:30:55 | |
His dog. | 0:30:55 | 0:30:56 | |
His mother. | 0:30:57 | 0:30:59 | |
Himself. | 0:30:59 | 0:31:01 | |
Breasts, for breastfeeding his baby. | 0:31:02 | 0:31:04 | |
In 1942, aged only 20, he moved into violent, low-rent Paddington, | 0:31:21 | 0:31:28 | |
and settled into a lifelong pattern | 0:31:28 | 0:31:30 | |
of living and painting in seedy flats, | 0:31:30 | 0:31:34 | |
exploring his immediate surroundings. | 0:31:34 | 0:31:36 | |
Freud didn't like leaving his studio, | 0:31:50 | 0:31:53 | |
but he would travel further for his art. | 0:31:53 | 0:31:55 | |
After the war, he rushed to Paris. | 0:31:57 | 0:32:00 | |
He wanted to meet the big talents of Europe. | 0:32:00 | 0:32:03 | |
Pablo Picasso showed him recent work at his studio. | 0:32:06 | 0:32:11 | |
Picasso was a virtuoso, and a showman, | 0:32:11 | 0:32:15 | |
projecting his identity onto the canvas. | 0:32:15 | 0:32:18 | |
Freud didn't see himself as the next Picasso. | 0:32:23 | 0:32:27 | |
He sought out another great artist working in Paris, | 0:32:27 | 0:32:30 | |
someone depicting the world as he saw it on canvas and clay, | 0:32:30 | 0:32:34 | |
Alberto Giacometti. | 0:32:34 | 0:32:37 | |
They had long discussions. | 0:32:44 | 0:32:47 | |
Giacometti made two drawings of Freud, now lost. | 0:32:47 | 0:32:51 | |
Lucian was captivated by the cluttered studio | 0:32:56 | 0:32:59 | |
and Alberto's procedure. | 0:32:59 | 0:33:01 | |
A constant scrutiny, destroying and remaking works | 0:33:03 | 0:33:07 | |
with no plan or guarantee of success, no formula. | 0:33:07 | 0:33:10 | |
Trusting that with hard work, | 0:33:11 | 0:33:13 | |
he might, one day, convey something of what he saw. | 0:33:13 | 0:33:15 | |
Lucian followed this high-risk approach for the rest of his life. | 0:33:17 | 0:33:21 | |
Freud kept faith with capturing the world in paint | 0:33:33 | 0:33:37 | |
at a time when photography was in fashion as an art form. | 0:33:37 | 0:33:42 | |
He knew that hundreds of hours of scrutiny | 0:33:42 | 0:33:44 | |
pay off differently in a painting, | 0:33:44 | 0:33:47 | |
layering into the work multiple visual insights, | 0:33:47 | 0:33:50 | |
making his image almost inexhaustible. | 0:33:50 | 0:33:52 | |
Proper painting has got to come from what we see around us, | 0:34:02 | 0:34:06 | |
what we know, what we are sure of, what we're interested in. | 0:34:06 | 0:34:10 | |
Now, the most imaginative thing you possibly can do | 0:34:10 | 0:34:14 | |
is look at something ordinary and turn it into something memorable, | 0:34:14 | 0:34:18 | |
which is what Lucian did throughout. | 0:34:18 | 0:34:20 | |
He made people memorable, | 0:34:20 | 0:34:22 | |
more memorable than they were in life, perhaps. | 0:34:22 | 0:34:25 | |
He had this idea that a painting is something set apart. | 0:34:25 | 0:34:28 | |
Once you've done it, it's on its own. | 0:34:28 | 0:34:31 | |
And it either is boring or it's interesting. | 0:34:31 | 0:34:34 | |
And if it's interesting, it's simply because the artist has put all his energies, | 0:34:34 | 0:34:39 | |
all his attention, all his devotion into it, | 0:34:39 | 0:34:42 | |
and then it's like a grown-up child, off it goes into its own life. | 0:34:42 | 0:34:46 | |
And that's the most imaginative, positive, | 0:34:46 | 0:34:49 | |
timeless and indeed modern thing you can do in art. | 0:34:49 | 0:34:52 | |
Look at the world around you and make something of it. | 0:34:52 | 0:34:55 | |
But what inspired Lucian's devotion throughout his life? | 0:34:56 | 0:35:00 | |
In most cases, it's the person he loved at the time. | 0:35:00 | 0:35:05 | |
In 1948, that person was Kitty Garman, | 0:35:06 | 0:35:09 | |
the daughter of the sculptor Jacob Epstein. | 0:35:09 | 0:35:12 | |
He married her, | 0:35:14 | 0:35:16 | |
and she became the subject of his first major series of portraits. | 0:35:16 | 0:35:20 | |
The series ended with his growing recognition, | 0:35:35 | 0:35:38 | |
and in 1952, the first of his works to be bought by the Tate Gallery. | 0:35:38 | 0:35:42 | |
Lucian's idea of a relationship was to be in love, | 0:35:50 | 0:35:54 | |
but to remain in charge. | 0:35:54 | 0:35:56 | |
Kitty had to do what she was told. | 0:35:56 | 0:35:59 | |
She had a difficult life with him. | 0:35:59 | 0:36:02 | |
She used to describe to me this kitchen scene, | 0:36:02 | 0:36:05 | |
that she'd cook up something that she thought he liked, | 0:36:05 | 0:36:08 | |
and then he sat at the table, waiting, | 0:36:08 | 0:36:12 | |
and then she'd put it down in front of him, | 0:36:12 | 0:36:16 | |
and then she had to go and sit with her face to the wall in the corner, | 0:36:16 | 0:36:21 | |
while he ate it up. | 0:36:21 | 0:36:23 | |
Lucian felt free to do anything he liked. | 0:36:24 | 0:36:27 | |
When he was married, he was looking for something with me. | 0:36:28 | 0:36:32 | |
Probably that's why they didn't last long, you know. | 0:36:32 | 0:36:35 | |
Once you've had a good feed of something, you get tired of it. | 0:36:35 | 0:36:38 | |
And the way he used to be able to get away from Kitty was to say, | 0:36:38 | 0:36:46 | |
"I'm working on a night picture with Charlie." | 0:36:46 | 0:36:49 | |
You know? Away we go, do an hour, you know, painting. | 0:36:49 | 0:36:54 | |
And then that gave us leeway to go down the West. | 0:36:54 | 0:36:57 | |
And he'd go back the next morning, | 0:36:57 | 0:36:59 | |
"Yes, marvellous night, lot of work done!" | 0:36:59 | 0:37:02 | |
And that was it, you know. | 0:37:02 | 0:37:04 | |
The painting reflected how the relationship changed, | 0:37:04 | 0:37:09 | |
and tensions grew. | 0:37:09 | 0:37:11 | |
If you look at these, to me, | 0:37:12 | 0:37:15 | |
the earlier paintings show my mother as a girl. | 0:37:15 | 0:37:18 | |
And then you turn to this. This is a painting of a woman. | 0:37:21 | 0:37:26 | |
There's a much greater sense of self, | 0:37:26 | 0:37:29 | |
projecting at you, | 0:37:29 | 0:37:32 | |
as a viewer. Um... | 0:37:32 | 0:37:36 | |
There's a sense of sadness, | 0:37:36 | 0:37:39 | |
even some anger, I think. | 0:37:39 | 0:37:43 | |
It's to do with real life. It's the maturation of her face. | 0:37:43 | 0:37:47 | |
There is a much more complicated person being portrayed here. | 0:37:47 | 0:37:53 | |
There are thoughts and emotions and a life going on. | 0:37:53 | 0:37:57 | |
And the...nature of her, her gestural self, | 0:37:57 | 0:38:04 | |
is richer and more complex, | 0:38:04 | 0:38:06 | |
with her hand on her breast, and the other resting on the mattress. | 0:38:06 | 0:38:11 | |
And also, a huge part of the painting is taken up with | 0:38:11 | 0:38:15 | |
this yellow towelling dressing gown. | 0:38:15 | 0:38:18 | |
And it somehow adds a difficult emotional aspect to the painting. | 0:38:18 | 0:38:23 | |
Its sort of complex folds, | 0:38:23 | 0:38:25 | |
and the way it goes so deeply in at the waist. | 0:38:25 | 0:38:28 | |
Less than a year after this painting, | 0:38:36 | 0:38:38 | |
Kitty and Lucian separated. | 0:38:38 | 0:38:40 | |
It was a terrible, terrible thing to experience. | 0:38:44 | 0:38:47 | |
I'm sure, like most children do when their parents separate, | 0:38:47 | 0:38:51 | |
that they think that they are some way to blame, | 0:38:51 | 0:38:54 | |
and that I felt somehow at fault. | 0:38:54 | 0:38:59 | |
When I was quite small, when we used to go to the park, | 0:39:03 | 0:39:06 | |
we used to spend a lot of time doing handstands. | 0:39:06 | 0:39:09 | |
I know that he was brilliant at headstands and handstands. | 0:39:09 | 0:39:13 | |
And spent a large amount of his childhood standing on his head. | 0:39:13 | 0:39:17 | |
And he was always throwing me around, not in a way that hurt. | 0:39:17 | 0:39:21 | |
I used to wonder, as I was sailing through the air, | 0:39:21 | 0:39:24 | |
whether he wanted me to be an acrobat. | 0:39:24 | 0:39:26 | |
Lucian had fallen for high society beauty | 0:39:31 | 0:39:33 | |
and intellectual Lady Caroline Blackwood. | 0:39:33 | 0:39:37 | |
His infatuation fuelled the next series of paintings. | 0:39:38 | 0:39:42 | |
Caroline's money bought him an upper-class lifestyle. | 0:39:46 | 0:39:50 | |
Coombe Priory in Dorset. | 0:39:52 | 0:39:55 | |
Horses and dogs, weekend parties. | 0:39:55 | 0:39:59 | |
And frequent visits to Paris. | 0:39:59 | 0:40:01 | |
In 1954, he went with her to see Picasso again. | 0:40:05 | 0:40:09 | |
Unlike Kitty, Caroline couldn't be controlled. | 0:40:36 | 0:40:40 | |
She was her own person, getting what she wanted. | 0:40:40 | 0:40:43 | |
The romantic, erotic dream that turned into a nightmare. | 0:40:49 | 0:40:54 | |
Lucian's painting reflected the tensions in the relationship. | 0:40:54 | 0:40:58 | |
Caroline is in the light. | 0:41:02 | 0:41:04 | |
Lucian in the shadow. | 0:41:07 | 0:41:09 | |
A question seems to hang in the air. What is this situation? | 0:41:13 | 0:41:17 | |
Paris was meant to be fun, but the love nest has become a battleground. | 0:41:17 | 0:41:23 | |
When Caroline left him, Lucian was devastated. | 0:41:27 | 0:41:32 | |
He returned to his old life in London, | 0:41:32 | 0:41:34 | |
where friends, including the leading painter of his time, | 0:41:34 | 0:41:38 | |
Francis Bacon, noticed a change. | 0:41:38 | 0:41:41 | |
When the divorce came through, | 0:41:41 | 0:41:44 | |
people were worried that he was going to commit suicide, with Caroline. | 0:41:44 | 0:41:48 | |
Or Francis Bacon was, anyway. | 0:41:48 | 0:41:50 | |
Because we were in the street, and he said, | 0:41:50 | 0:41:52 | |
"I'm just going upstairs," in Dean Street. | 0:41:52 | 0:41:55 | |
"See you in a minute." | 0:41:55 | 0:41:57 | |
Bacon said to me, "For Christ's sake, go and keep an eye on him | 0:41:57 | 0:42:00 | |
"cos I think he's going to jump off the roof." | 0:42:00 | 0:42:02 | |
When Caroline left him, that was an extraordinary shock. | 0:42:05 | 0:42:08 | |
It was unprecedented for him, he'd not been left, | 0:42:08 | 0:42:11 | |
it was as though his mother had left him. | 0:42:11 | 0:42:13 | |
It was abandonment, and he abandoned himself. | 0:42:13 | 0:42:15 | |
He got into fights, he drank. He went wilder. | 0:42:15 | 0:42:19 | |
And the painting was in a transitional stage. | 0:42:19 | 0:42:23 | |
Painting always is in a transitional stage if it's any good, | 0:42:23 | 0:42:26 | |
but it was unusually transitional. | 0:42:26 | 0:42:29 | |
And so, one way and another, his life had to be re-orientated. | 0:42:31 | 0:42:35 | |
And he found it difficult, difficult for two or three years. | 0:42:35 | 0:42:39 | |
In a way, the misery which he cast off | 0:42:41 | 0:42:44 | |
actually concentrated his mind, I think. | 0:42:44 | 0:42:47 | |
The experience concentrated Lucian's mind | 0:42:47 | 0:42:50 | |
on a major problem in his painting. | 0:42:50 | 0:42:53 | |
What did Lucian need to liberate his painting? | 0:43:08 | 0:43:12 | |
In 1945, Lucian had befriended Francis Bacon, | 0:43:18 | 0:43:21 | |
who was on the cusp of international fame. | 0:43:21 | 0:43:26 | |
By the mid-'50s, he was a superstar. | 0:43:26 | 0:43:28 | |
Bacon had made it to this position entirely on his own terms. | 0:43:29 | 0:43:34 | |
At that time, Lucian saw him as unique, the real thing. | 0:43:34 | 0:43:38 | |
Lucian was stunned by the truth of Bacon's raw, fleshy brushwork, | 0:43:44 | 0:43:49 | |
and his relentless effort to express the intensity of his feelings. | 0:43:49 | 0:43:52 | |
I think one of the things that really excited Freud is that | 0:43:52 | 0:43:57 | |
Bacon really used to talk about how much | 0:43:57 | 0:43:59 | |
he used to pack into every brushstroke. | 0:43:59 | 0:44:02 | |
This is something that really, really excited Freud, | 0:44:02 | 0:44:05 | |
the fact that he could free up paint. | 0:44:05 | 0:44:07 | |
As we can see here, around the face, | 0:44:07 | 0:44:10 | |
not only in the way that the face is worked, | 0:44:10 | 0:44:12 | |
but the fact that when he's finished the face, | 0:44:12 | 0:44:15 | |
he's throwing the brush and creating this in a way, | 0:44:15 | 0:44:17 | |
as Lucian used to always talk about, what Bacon calls "the accident". | 0:44:17 | 0:44:21 | |
Bacon's dexterity produced what looked like spontaneous emotion. | 0:44:25 | 0:44:29 | |
This immediacy demanded a response from Freud, | 0:44:32 | 0:44:36 | |
but not to imitate Bacon's look. | 0:44:36 | 0:44:38 | |
Freud moved away from the style that had made him successful, | 0:44:39 | 0:44:42 | |
the hard-edged, | 0:44:42 | 0:44:44 | |
smooth surface achieved with a soft sable brush, which conveyed | 0:44:44 | 0:44:49 | |
a sense of emotional remoteness, to a patchwork of marks | 0:44:49 | 0:44:52 | |
made with a bigger, stiffer hogshair brush. | 0:44:52 | 0:44:55 | |
Now, each stroke of paint | 0:44:57 | 0:44:58 | |
would better satisfy | 0:44:58 | 0:45:00 | |
Freud's intense personal engagement with the subject. | 0:45:00 | 0:45:03 | |
To capture close up their living presence. | 0:45:04 | 0:45:07 | |
Most portrait papers are content to achieve a likeness, | 0:45:14 | 0:45:17 | |
a good likeness of a person. | 0:45:17 | 0:45:20 | |
Constantly in Lucian, you see him going way beyond that. | 0:45:20 | 0:45:23 | |
He achieves something like a likeness, | 0:45:24 | 0:45:27 | |
and then he just keeps putting more on, and creating more effects. | 0:45:27 | 0:45:31 | |
And each one of those marks is not predetermined, | 0:45:31 | 0:45:35 | |
but it's another sign of his response to the person in front of him. | 0:45:35 | 0:45:40 | |
I think through registering all those extra responses over such a long period, | 0:45:40 | 0:45:45 | |
it does go beyond likeness | 0:45:45 | 0:45:47 | |
and into this sense you have of his own engagement with that person. | 0:45:47 | 0:45:51 | |
It was so crucial for paint to become flesh | 0:46:05 | 0:46:07 | |
that when he discovered a heavy lead-based paint, Cremnitz white, | 0:46:07 | 0:46:12 | |
it so suited the way he saw things that he couldn't create without it. | 0:46:12 | 0:46:18 | |
Cremnitz white helped give Freud his look of pasty, lived-in bodies, | 0:46:18 | 0:46:23 | |
lying in stained and damaged rooms. | 0:46:23 | 0:46:26 | |
Cremnitz white's a lovely paint, | 0:46:30 | 0:46:32 | |
and it's got a lovely skinny quality about it. | 0:46:32 | 0:46:35 | |
And Lucian, once he'd discovered it, was totally taken over. | 0:46:35 | 0:46:39 | |
And I do remember at some stage, | 0:46:39 | 0:46:42 | |
the EU was going to issue a ban on paint | 0:46:42 | 0:46:45 | |
with so much lead in it or something. | 0:46:45 | 0:46:48 | |
And Lucian absolutely freaked out. | 0:46:48 | 0:46:50 | |
He got in a total state of panic, and he lobbied Arnold Goodman, | 0:46:50 | 0:46:54 | |
who was in the House of Lords at the time, to ask questions. | 0:46:54 | 0:46:58 | |
And he bought up as far as he could | 0:46:58 | 0:46:59 | |
the country's whole supply of Cremnitz white. | 0:46:59 | 0:47:02 | |
Freud lived to paint. It calmed him down. | 0:47:02 | 0:47:07 | |
But he worked with such intensity, seven days a week, | 0:47:07 | 0:47:10 | |
that he needed to find ways of letting off steam. | 0:47:10 | 0:47:14 | |
Help was close at hand. | 0:47:14 | 0:47:16 | |
He greatly admired Bacon, the way... his rather lordly way of life. | 0:47:16 | 0:47:19 | |
Striding along in the gutter, | 0:47:19 | 0:47:21 | |
rather despising other people, in the case of Bacon, | 0:47:21 | 0:47:24 | |
knowing he could buy people with champagne, | 0:47:24 | 0:47:27 | |
knowing that if he dispensed cash, people would come grovelling for it. | 0:47:27 | 0:47:31 | |
Knowing that his witty asides | 0:47:31 | 0:47:32 | |
were probably better witty asides that most people's. | 0:47:32 | 0:47:35 | |
Lucian loved this, and he admired him. | 0:47:35 | 0:47:38 | |
It was a kind of relationship of how to live an artist's life. | 0:47:38 | 0:47:42 | |
Well, we'd go to a club, and he'd pull, trying to pull, | 0:47:46 | 0:47:49 | |
you know, which he invariably did. | 0:47:49 | 0:47:51 | |
We'd go to The Mandrake, and The Colony. | 0:47:54 | 0:47:56 | |
Bacon would be up there, and all the rest, Deakin. Everyone else. | 0:48:00 | 0:48:05 | |
It was a good club, you know. Full of homosexuals. | 0:48:05 | 0:48:09 | |
All trying to outdo each other, with gestures and things. Um... | 0:48:09 | 0:48:15 | |
..Lu and Bacon having a discussion of art, over the din. | 0:48:17 | 0:48:21 | |
And this crippled pianist used to sit there, | 0:48:23 | 0:48:27 | |
and he used to play there all night. Really good, he was. | 0:48:27 | 0:48:31 | |
He had a sort of very wide circle of acquaintances. | 0:48:34 | 0:48:38 | |
Lu Freud of Paddington, they all talked about him, all those people. | 0:48:38 | 0:48:42 | |
But he never discussed it much, that. | 0:48:42 | 0:48:44 | |
Lucian was | 0:48:46 | 0:48:49 | |
tremendously fond of, | 0:48:49 | 0:48:51 | |
er, sort of cockney life. | 0:48:51 | 0:48:54 | |
And he hung out in East End pubs. | 0:48:54 | 0:48:58 | |
He had a number of friends who were on the fringes of the law. | 0:48:58 | 0:49:02 | |
At one moment, he even knew the Kray brothers. | 0:49:02 | 0:49:05 | |
I would have run a mile, but Lucian was amused. | 0:49:05 | 0:49:08 | |
And then there was another character in his life, | 0:49:08 | 0:49:11 | |
who he did a portrait of. | 0:49:11 | 0:49:14 | |
He really was a rather bad character | 0:49:14 | 0:49:16 | |
in that he betrayed his fellow criminals, | 0:49:16 | 0:49:19 | |
and I remember Lucian telling me | 0:49:19 | 0:49:22 | |
that he was tied to a chair... | 0:49:22 | 0:49:25 | |
..and then they cut his mouth open, because somebody who grasses, | 0:49:26 | 0:49:31 | |
that's the classic thing they do. | 0:49:31 | 0:49:33 | |
The chair was hung out of the window upside down, | 0:49:33 | 0:49:37 | |
on the road that came in from the east end of London, and up which, | 0:49:37 | 0:49:42 | |
on this particular early morning, | 0:49:42 | 0:49:45 | |
the Aldermaston march was coming. | 0:49:45 | 0:49:49 | |
And this man came to with his mouth cut open | 0:49:49 | 0:49:52 | |
and the Aldermaston peace march walking underneath him. | 0:49:52 | 0:49:55 | |
He rang me, sort of, I think it was about four in the morning | 0:49:57 | 0:50:02 | |
and said, "Dave, can I come round, I've got something to ask you." | 0:50:02 | 0:50:05 | |
I said, "Yes, you better hurry up | 0:50:05 | 0:50:09 | |
"because I'm just about to go to the airport to catch a plane somewhere." | 0:50:09 | 0:50:12 | |
He came round, I said, "What do you want?" | 0:50:12 | 0:50:17 | |
He said, "£1,500," | 0:50:17 | 0:50:19 | |
because, you know, we were all... It was quite a sum to raise. | 0:50:19 | 0:50:24 | |
So I said, "Why do I have to give you £1,500?" | 0:50:24 | 0:50:28 | |
He said, "Because if I haven't produced it by 12 o'clock, | 0:50:28 | 0:50:32 | |
"they're going to cut my tongue out." | 0:50:32 | 0:50:35 | |
Freud liked living on the edge. Which was fortunate. | 0:50:37 | 0:50:40 | |
His painting was completely out of step with his time. | 0:50:41 | 0:50:45 | |
We had the kitchen sink school in the late '50s, we had pop art. | 0:51:00 | 0:51:03 | |
Then we had op art, then we had kinetic art. | 0:51:03 | 0:51:07 | |
And all the sort of younger critics | 0:51:07 | 0:51:11 | |
and people who were interested in trendy, modern art | 0:51:11 | 0:51:14 | |
thought Lucian was a dinosaur. | 0:51:14 | 0:51:16 | |
They just weren't interested. | 0:51:16 | 0:51:18 | |
They couldn't see there was any point in that sort of painting. | 0:51:18 | 0:51:21 | |
The pictures he did in the early '60s were over life-size, | 0:51:22 | 0:51:29 | |
and pretty...superficially, pretty ugly. | 0:51:29 | 0:51:33 | |
They didn't sell. | 0:51:33 | 0:51:35 | |
And they hung around for a long time without proud owners. | 0:51:36 | 0:51:40 | |
People felt he had just not lived up to his initial promise. | 0:51:41 | 0:51:45 | |
Lucian didn't care. | 0:51:46 | 0:51:48 | |
He wouldn't change, he COULDN'T change. | 0:51:48 | 0:51:51 | |
His impulse was to commit ever more to his painting, | 0:51:53 | 0:51:56 | |
exploring feelings even more deeply. | 0:51:56 | 0:51:59 | |
I think he was very, very focused on what he was doing. | 0:52:00 | 0:52:05 | |
And was quite tough, and ignored whatever the fashion was. | 0:52:05 | 0:52:10 | |
But all good artists do that, I think, really. | 0:52:10 | 0:52:14 | |
His drive remained to portray people he was closest to. | 0:52:28 | 0:52:31 | |
With Kitty and Caroline, a portrait meant the head and face. | 0:52:31 | 0:52:36 | |
By the mid-1960s, he started to paint the whole body. | 0:52:36 | 0:52:42 | |
To capture the complete intimate relationship. | 0:52:42 | 0:52:45 | |
A naked person just as he saw them. | 0:52:45 | 0:52:48 | |
Not the idealised porcelain nudes of tradition, but a naked portrait. | 0:52:48 | 0:52:53 | |
It was a new category of painting. | 0:52:53 | 0:52:55 | |
I think he wanted more than just the head, | 0:53:00 | 0:53:03 | |
he wanted to see the whole animal, he would say. | 0:53:03 | 0:53:06 | |
And he loved watching, he liked watching people move and talk, | 0:53:06 | 0:53:11 | |
and emotions... He was fascinated by animal behaviour. | 0:53:11 | 0:53:15 | |
To paint the human animal | 0:53:18 | 0:53:20 | |
inevitably required a great deal of trust and cooperation. | 0:53:20 | 0:53:24 | |
Sometimes I resented it terribly, | 0:53:26 | 0:53:27 | |
sometimes I was so pleased to get away from the domestic life | 0:53:27 | 0:53:32 | |
and be able to go there and relax | 0:53:32 | 0:53:33 | |
and work at something that made total sense to me. | 0:53:33 | 0:53:36 | |
And then sometimes it was so painful, obviously, | 0:53:36 | 0:53:39 | |
because things were going on in our life, | 0:53:39 | 0:53:41 | |
that I'd want to jack it in and just leave the room. | 0:53:41 | 0:53:45 | |
And it was all quite difficult, | 0:53:45 | 0:53:47 | |
we gave up on several paintings because it just became so difficult. | 0:53:47 | 0:53:50 | |
We were crashing around at that time, | 0:53:50 | 0:53:53 | |
there was a lot of books flying around the room. | 0:53:53 | 0:53:56 | |
It was during one of our many break-ups. | 0:53:56 | 0:54:00 | |
By ratcheting up the explicit detail, | 0:54:18 | 0:54:21 | |
specifically the genitals, Freud rebelled against the coy nude | 0:54:21 | 0:54:25 | |
and showed us the presence of a real body. | 0:54:25 | 0:54:29 | |
He gave a frank account of many of his sexual relationships. | 0:54:29 | 0:54:33 | |
For Lucian, I think that painting was akin to fucking. | 0:54:42 | 0:54:46 | |
I think his creativeness, I should have said, was very akin to fucking. | 0:54:46 | 0:54:51 | |
The sex act and the intellectual act, whatever you call it, | 0:54:51 | 0:54:55 | |
of painting, were in some ways interchangeable. | 0:54:55 | 0:54:59 | |
I think that he very... | 0:54:59 | 0:55:02 | |
He had no difficulty transforming sexual notions into paint, | 0:55:02 | 0:55:08 | |
and paint into sexual notions. | 0:55:08 | 0:55:10 | |
I think the two aspects of his senses came together in the act of painting. | 0:55:10 | 0:55:14 | |
He didn't start painting me for two years | 0:55:18 | 0:55:20 | |
after I'd started going out with him. | 0:55:20 | 0:55:23 | |
I was a very, very self-conscious, shy young woman. | 0:55:23 | 0:55:28 | |
And it did feel very exposing to lie there. | 0:55:28 | 0:55:33 | |
And he stood very close to me | 0:55:33 | 0:55:37 | |
and kind of scrutinised me | 0:55:37 | 0:55:39 | |
in a way that made me feel very undesirable. | 0:55:39 | 0:55:43 | |
It felt quite clinical. Almost as though I was on a surgical bed. | 0:55:43 | 0:55:48 | |
The many months of collaboration often undermined the relationship. | 0:55:50 | 0:55:54 | |
In this painting of Celia, roles are exchanged. | 0:55:54 | 0:55:59 | |
The naked man is perhaps a surrogate Lucian. | 0:55:59 | 0:56:02 | |
I'm the painter, and I'm standing in a position of power, really. | 0:56:04 | 0:56:11 | |
And this is interesting to me, that it's the last painting he did of me. | 0:56:11 | 0:56:17 | |
I'd... | 0:56:17 | 0:56:20 | |
I'd become myself more ambitious as a painter, | 0:56:20 | 0:56:24 | |
and I was preparing for my first solo exhibition in London. | 0:56:24 | 0:56:31 | |
And I'd also, a few years before, had given birth to our son Frank. | 0:56:31 | 0:56:38 | |
And I think Lucian's feelings about me | 0:56:38 | 0:56:44 | |
in this painting are quite ambivalent. | 0:56:44 | 0:56:47 | |
I'm holding this very definitely angled brush, | 0:56:49 | 0:56:54 | |
and I'm standing on a tube of paint which is oozing. | 0:56:54 | 0:56:57 | |
The brush and the oozing paint tube, I feel, are kind of sexual symbols, | 0:56:59 | 0:57:04 | |
and I think suddenly me becoming both a mother | 0:57:04 | 0:57:09 | |
and a seriously ambitious painter | 0:57:09 | 0:57:13 | |
put me in a different position. | 0:57:13 | 0:57:17 | |
And I was no longer the kind of voluptuous figure lying on the bed. | 0:57:17 | 0:57:22 | |
I remember at one point, you know, we had some quarrel | 0:57:25 | 0:57:29 | |
and I said, "I'm leaving." | 0:57:29 | 0:57:30 | |
He pleaded with me not to, because he said, "We're just in the middle." | 0:57:30 | 0:57:35 | |
And it made me sort of conscious that there was going to be | 0:57:35 | 0:57:39 | |
a beginning, middle and end, | 0:57:39 | 0:57:42 | |
and that it wasn't going to be a relationship for life. | 0:57:42 | 0:57:46 | |
I remember hearing these parents of friends of mine | 0:57:48 | 0:57:51 | |
talking about a friend of mine, a girl, saying, | 0:57:51 | 0:57:55 | |
"Do you know he's having an affair with Lucian Freud?" | 0:57:55 | 0:57:58 | |
They were saying, "Disgusting, filthy Jew." This is what they said. | 0:57:58 | 0:58:02 | |
I remember them saying this. And I remember thinking, | 0:58:02 | 0:58:05 | |
"I wonder if I could meet him?" I remember thinking that. | 0:58:05 | 0:58:09 | |
He was demanding so much commitment and so much time, | 0:58:09 | 0:58:15 | |
that you really couldn't not love someone to be in that situation. | 0:58:15 | 0:58:19 | |
You had to love them a bit, because they're trying to... | 0:58:19 | 0:58:24 | |
..create out of nothing this magic, magic creation, from nothing. | 0:58:25 | 0:58:32 | |
From a blank canvas. | 0:58:32 | 0:58:34 | |
And there's an enormous amount of crisis going into that. | 0:58:34 | 0:58:40 | |
He would jump up and down and scream, | 0:58:40 | 0:58:42 | |
it was really hard for him to bring it about. | 0:58:42 | 0:58:44 | |
He was working in this immense intensity. | 0:58:47 | 0:58:51 | |
This was year in, year out. This was Christmas Day, New Year's Eve. | 0:58:51 | 0:58:55 | |
There was never a day off, it was like this every day. | 0:58:55 | 0:58:59 | |
He had this extraordinary energy and he was working, standing up, | 0:58:59 | 0:59:03 | |
for seven, eight hours, through the night. | 0:59:03 | 0:59:05 | |
And then he would be up at 7am, | 0:59:05 | 0:59:08 | |
painting someone else, which to me seemed incredible. | 0:59:08 | 0:59:12 | |
To Freud, making a painting was always an attempt to make his best work yet. | 0:59:14 | 0:59:20 | |
He would try never to repeat himself. | 0:59:20 | 0:59:22 | |
The way that he dealt with me in the beginning, | 0:59:35 | 0:59:37 | |
was really, it's like sort of saying, "You're an animal. | 0:59:37 | 0:59:41 | |
"You've got to understand, that's how you're going to be treated." | 0:59:41 | 0:59:46 | |
He wanted it to be a sexual relationship? | 0:59:46 | 0:59:48 | |
Yes, I think he was really used to it. That's the deal, almost. | 0:59:48 | 0:59:54 | |
Um... But I just didn't, I wouldn't, it's just not... | 0:59:54 | 0:59:57 | |
You know, I just wasn't into it. | 0:59:59 | 1:00:02 | |
Four paintings of Sabina were started, | 1:00:04 | 1:00:07 | |
but all of them failed and were destroyed by Freud himself. | 1:00:07 | 1:00:11 | |
It was, punch, you know, | 1:00:11 | 1:00:13 | |
a kick through so it's almost like you're kicking through a person. | 1:00:13 | 1:00:19 | |
I felt that he was very angry with me. | 1:00:19 | 1:00:22 | |
Lucian needed intimacy to capture the presence of his sitters. | 1:00:29 | 1:00:34 | |
When trust broke down the strain was unbearable. | 1:00:34 | 1:00:38 | |
But the bliss of pure looking would help him through. | 1:00:38 | 1:00:43 | |
He always used to say that when he was particularly unhappy he would turn to painting. | 1:01:08 | 1:01:12 | |
The view out of the window or plants - | 1:01:12 | 1:01:14 | |
things from which human beings didn't directly crop up. | 1:01:14 | 1:01:16 | |
LUCIAN FREUD: 'The subject matter has always been dictated by | 1:01:23 | 1:01:27 | |
'the way my life's gone and I noticed then, | 1:01:27 | 1:01:30 | |
'that when I switched away from people | 1:01:30 | 1:01:33 | |
'was when I was under particular strain. | 1:01:33 | 1:01:36 | |
'I didn't feel so like staring at people or bodies all day.' | 1:01:36 | 1:01:42 | |
The depth of scrutiny achieved in the paintings of people was | 1:01:51 | 1:01:55 | |
equalled in other subjects. | 1:01:55 | 1:01:57 | |
But sooner or later Lucian always regained his nerve, | 1:02:02 | 1:02:06 | |
painting what excited him most - people. | 1:02:06 | 1:02:10 | |
After three decades of absence, he took on his mother as a subject. | 1:02:11 | 1:02:16 | |
When his father Ernst died in 1970, Lucie had attempted suicide. | 1:02:18 | 1:02:24 | |
She took an overdose and she was rushed off to hospital | 1:02:25 | 1:02:32 | |
and had her stomach pumped out but there was some damage | 1:02:32 | 1:02:38 | |
and the result was that she was no longer | 1:02:38 | 1:02:43 | |
the sparkling, brilliant, bright, funny person she had been. | 1:02:43 | 1:02:52 | |
And she was a shadow of her former self. | 1:02:52 | 1:02:58 | |
In this condition, Lucian could tolerate his mother. | 1:02:58 | 1:03:02 | |
He picked her up most days and brought her to the studio. | 1:03:02 | 1:03:06 | |
He looked after her, but he never flinched from showing | 1:03:06 | 1:03:09 | |
the history of their fraught relationship. | 1:03:09 | 1:03:12 | |
She had read his love letters, was too intrusive, | 1:03:12 | 1:03:16 | |
so he puts her with his lover Jacquetta. | 1:03:16 | 1:03:20 | |
Beneath her chair is a pestle and mortar | 1:03:22 | 1:03:25 | |
used for grinding pigment. | 1:03:25 | 1:03:27 | |
The sexual symbolism is there. | 1:03:27 | 1:03:30 | |
The painting is heavy with emotional tension. | 1:03:32 | 1:03:35 | |
Mother, | 1:03:35 | 1:03:36 | |
lover and the struggle to depict reality. | 1:03:36 | 1:03:41 | |
It also shows devotion to every exquisite detail. | 1:03:41 | 1:03:45 | |
It was terribly morbid, what he was doing, | 1:03:48 | 1:03:51 | |
and I'm not sure that emotionally, I respond to | 1:03:51 | 1:03:56 | |
the idea of painting somebody who is no longer the person they were. | 1:03:56 | 1:04:01 | |
He told me he didn't like his mother! | 1:04:13 | 1:04:17 | |
They're wonderful actually though, I think. | 1:04:17 | 1:04:20 | |
I mean, he... He... | 1:04:20 | 1:04:24 | |
It probably is a way of being with her | 1:04:24 | 1:04:28 | |
and he didn't have to say anything. | 1:04:28 | 1:04:32 | |
Freud painted many members of his family. | 1:04:34 | 1:04:38 | |
In 1961, he had three more daughters by three different girlfriends. | 1:04:42 | 1:04:48 | |
As they grew up, Lucian brought them into his life. | 1:04:48 | 1:04:52 | |
One way was by asking them to sit for him. | 1:04:52 | 1:04:55 | |
I did two paintings first before I did any nudes, | 1:05:02 | 1:05:05 | |
and then I thought, "Well, you know, I know that's what he would like," | 1:05:05 | 1:05:10 | |
so I tried it out and as soon as I started I just felt fine, | 1:05:10 | 1:05:14 | |
there was no weird feeling, ever. | 1:05:14 | 1:05:17 | |
If you've got a father who paints naked women - | 1:05:29 | 1:05:32 | |
that's what he does, | 1:05:32 | 1:05:33 | |
that's his thing, then it would be so much more strange | 1:05:33 | 1:05:37 | |
if he didn't want to paint you naked. | 1:05:37 | 1:05:40 | |
Why would you... What would that be expressing? | 1:05:40 | 1:05:43 | |
Maybe I was quite a ferocious teenager and I could, at any point | 1:05:45 | 1:05:48 | |
in that painting, I could leap up and do whatever I wanted. | 1:05:48 | 1:05:51 | |
I think there's a sort of languor because of the hand over | 1:05:51 | 1:05:54 | |
the eyes but there's also a lot of force, the muscles in my legs | 1:05:54 | 1:05:58 | |
look quite pumped up and I look quite a forceful person. | 1:05:58 | 1:06:00 | |
It is incredible to me how completely my arm is still my arm. | 1:06:04 | 1:06:09 | |
That is EXACTLY the shape of my arm. | 1:06:09 | 1:06:12 | |
I remember being a little disappointed by the painting | 1:06:12 | 1:06:14 | |
myself, aged 16, I wanted to be a great beauty | 1:06:14 | 1:06:17 | |
and there I was, myself. | 1:06:17 | 1:06:19 | |
I did think that I looked like a very large person in the painting | 1:06:19 | 1:06:23 | |
and I'm quite a small person, and I said, "Oh, gosh, | 1:06:23 | 1:06:26 | |
"I'm not as big as that," and he said, "That's what you think." | 1:06:26 | 1:06:29 | |
And I always liked that cos I think what he was saying was, you are a big person. | 1:06:29 | 1:06:33 | |
But I just remember thinking, | 1:06:33 | 1:06:36 | |
he's not trying to depict an image of me, he's painting who I am. | 1:06:36 | 1:06:43 | |
I think that when you look at his naked portraits | 1:06:48 | 1:06:51 | |
you get the strongest sense of what it is like to occupy a body. | 1:06:51 | 1:06:55 | |
The fact that just beneath the surface of all of our skins | 1:06:55 | 1:06:58 | |
there's surging blood and nerves going haywire. | 1:06:58 | 1:07:03 | |
Even on the skin itself there are rashes, | 1:07:03 | 1:07:06 | |
there's a whole history of sunburn or eczema, you know, | 1:07:06 | 1:07:11 | |
a lifetime of response to the environment and so on, | 1:07:11 | 1:07:14 | |
conveying an incredibly strong sense of their physical presence | 1:07:14 | 1:07:19 | |
and registering, in this way, what's unknown and unknowable about his sitters. | 1:07:19 | 1:07:24 | |
It might be said that Lucian himself was unknowable. | 1:07:26 | 1:07:29 | |
He found the world strange and he seemed strange to others. | 1:07:29 | 1:07:34 | |
He liked it like that. | 1:07:34 | 1:07:36 | |
It was more his personality that was so astounding | 1:07:36 | 1:07:39 | |
and the way he behaved, he was rather badly behaved | 1:07:39 | 1:07:42 | |
and rebellious in terms of my child's perspective. | 1:07:42 | 1:07:45 | |
He used to ring the house and my stepfather used to answer | 1:07:45 | 1:07:48 | |
and in the way that people did in those days, he would say, | 1:07:48 | 1:07:52 | |
"Coleman's Hatch, 231, who's speaking please?" | 1:07:52 | 1:07:56 | |
My father just wasn't going to have anything to do with that kind of formality. | 1:07:56 | 1:08:00 | |
He'd say, "Hello? Hello?" | 1:08:00 | 1:08:04 | |
They knew who each other were but he wasn't doing it. | 1:08:04 | 1:08:07 | |
So he used to phone the phone box instead. Me and my sister | 1:08:07 | 1:08:09 | |
would run down the hill as the phone was ringing at an appointed hour. | 1:08:09 | 1:08:13 | |
And speak to him at certain points of the week and that was really much more fun. | 1:08:13 | 1:08:17 | |
It felt as if we were the naughty children and the adults | 1:08:17 | 1:08:20 | |
and the teachers were the boring grown-ups. | 1:08:20 | 1:08:23 | |
He did this thing with his eyes, he would look at something | 1:08:25 | 1:08:29 | |
and then he would look, open his eyes more to sort of take | 1:08:29 | 1:08:33 | |
it in and so he'd be quite, kind of, you know, | 1:08:33 | 1:08:38 | |
"Come in!" and you felt like he was just there | 1:08:38 | 1:08:42 | |
and that he might just fly off at any time. | 1:08:42 | 1:08:45 | |
And then he'd look at things and take it in. | 1:08:45 | 1:08:48 | |
And I remember thinking, "I like the way he did that." | 1:08:48 | 1:08:51 | |
And I used to copy him when I was at school | 1:08:51 | 1:08:54 | |
and I'd kind of look at things like that. | 1:08:54 | 1:08:57 | |
After a lifetime of keeping his family and lovers | 1:09:01 | 1:09:03 | |
at a safe distance from each other, and from him, | 1:09:03 | 1:09:08 | |
in 1980 he started a painting which included two lovers | 1:09:08 | 1:09:10 | |
and three children. | 1:09:10 | 1:09:12 | |
It was his largest painting to date and for the first time, | 1:09:14 | 1:09:19 | |
based on the work of an old master. | 1:09:19 | 1:09:22 | |
I feel that Lucian was... | 1:09:38 | 1:09:40 | |
was erecting a kind of scaffolding, um, | 1:09:40 | 1:09:45 | |
a hammy-theatrical situation which we all know | 1:09:45 | 1:09:48 | |
when we look at the picture is just that it's false, | 1:09:48 | 1:09:52 | |
it's made up, it's theatrical. | 1:09:52 | 1:09:54 | |
We know that they're mimicking a pose | 1:09:54 | 1:09:56 | |
from a great painting from art history, | 1:09:56 | 1:09:58 | |
we know that they're not wearing their natural clothes. | 1:09:58 | 1:10:02 | |
And yet they're also still in Lucian's actual studio, | 1:10:05 | 1:10:09 | |
and you're aware of that - | 1:10:09 | 1:10:10 | |
the floorboards, the paint on the walls and so on. | 1:10:10 | 1:10:14 | |
And slowly, as you look at it, | 1:10:17 | 1:10:19 | |
the scaffolding sort of falls away in your mind. | 1:10:19 | 1:10:22 | |
Just by being made aware of it, it's sort of encouraged to fall away. | 1:10:24 | 1:10:28 | |
You're made conscious of the artifice of the thing | 1:10:28 | 1:10:31 | |
and what's left is these sort of gorgeous human presences | 1:10:31 | 1:10:35 | |
devoid of any fiction or any attempt to be captured in some way | 1:10:35 | 1:10:40 | |
and there's something sort of gorgeous about them. | 1:10:40 | 1:10:43 | |
That was a really hard picture to sit for, | 1:10:47 | 1:10:50 | |
it was so uncomfortable, sitting upright holding this horrible mandolin | 1:10:50 | 1:10:55 | |
and wearing this really uncomfortable dress | 1:10:55 | 1:10:57 | |
that had gold thread in which was rather prickly | 1:10:57 | 1:11:01 | |
and also, when we were all together, | 1:11:01 | 1:11:04 | |
all the heat from the different bodies | 1:11:04 | 1:11:08 | |
was really uncomfortable but then after he'd sketched it in and put us in place, | 1:11:08 | 1:11:15 | |
we'd be probably two at a time and sometimes alone. | 1:11:15 | 1:11:20 | |
When he was with a person, nobody else mattered to him | 1:11:25 | 1:11:30 | |
and I think he was, um, challenged to do a painting | 1:11:30 | 1:11:36 | |
with a lot of people that mattered to him in his life, all together. | 1:11:36 | 1:11:42 | |
But the interesting thing in that painting is that I only ever | 1:11:42 | 1:11:46 | |
sat with Bella, I never sat with any of the other figures in the painting | 1:11:46 | 1:11:51 | |
so I think it gives it quite a melancholy feeling, this, | 1:11:51 | 1:11:57 | |
all the individuals are sort of isolated in their own inner space. | 1:11:57 | 1:12:02 | |
The reason that it comes off so brilliantly is that it's got | 1:12:07 | 1:12:11 | |
the different nervous feelings of the sitters. | 1:12:11 | 1:12:14 | |
The whole painting has a kind of feeling | 1:12:14 | 1:12:18 | |
of people not quite getting on or part of a circle, | 1:12:18 | 1:12:20 | |
and, of course, the focus of the whole painting is Lucian. They're there because of Lucian | 1:12:20 | 1:12:25 | |
and you get this very strong feeling | 1:12:25 | 1:12:27 | |
that this is Lucian's great studio painting. | 1:12:27 | 1:12:29 | |
And to produce that in the late 20th century was absolutely extraordinary. | 1:12:29 | 1:12:33 | |
Lucian's painting and his ambitions grew in the '80s and I think that | 1:12:37 | 1:12:44 | |
things were, for once, beginning to go slightly well for him. | 1:12:44 | 1:12:48 | |
He had a nice studio, he was beginning to know some success, | 1:12:48 | 1:12:52 | |
he was financially, already exceedingly well off, | 1:12:52 | 1:12:55 | |
I think that he was possibly becoming slightly more genial. | 1:12:55 | 1:13:02 | |
Uh, and he certainly became more productive. | 1:13:03 | 1:13:07 | |
Lucian's career was thriving in Britain. | 1:13:12 | 1:13:15 | |
He was no longer Lu of Paddington. | 1:13:15 | 1:13:19 | |
Mr Freud had a studio in upmarket Holland Park. | 1:13:19 | 1:13:22 | |
And in his 60s, America beckoned. | 1:13:26 | 1:13:29 | |
A touring exhibition caught the eye of a radical curator. | 1:13:31 | 1:13:36 | |
The thing that made me feel | 1:13:36 | 1:13:38 | |
that we should proceed with a Lucian Freud exhibition | 1:13:38 | 1:13:41 | |
was that this was an artist who was painting in a way that seemed | 1:13:41 | 1:13:46 | |
quite different from anything else that I had seen anywhere. | 1:13:46 | 1:13:50 | |
You know, you think of a surgeon as someone who scrutinises someone | 1:13:51 | 1:13:57 | |
and looks at someone very, very carefully | 1:13:57 | 1:14:01 | |
but when you stop to think about the surgeon actually only | 1:14:01 | 1:14:05 | |
looks at one small part of the part that he's going to operate on. | 1:14:05 | 1:14:10 | |
The rest of it's all covered with sheets or whatever. | 1:14:10 | 1:14:12 | |
Freud, whether he's working on an elbow | 1:14:12 | 1:14:16 | |
or whether he's working on an ear or an eye or whatever, | 1:14:16 | 1:14:21 | |
it's the entire figure that becomes important | 1:14:21 | 1:14:24 | |
and I just hadn't seen anything like that. | 1:14:24 | 1:14:27 | |
The 1987 Hirshhorn Show kick-started Freud's international reputation. | 1:14:29 | 1:14:36 | |
His work became less directly autobiographical and more ambitious. | 1:14:36 | 1:14:40 | |
The thing that Lucian did was make a long career | 1:14:42 | 1:14:45 | |
of doing fundamentally the same things, over and over, | 1:14:45 | 1:14:49 | |
in the same small rooms, | 1:14:49 | 1:14:50 | |
and yet constantly giving you the feeling, and I think it was true, | 1:14:50 | 1:14:55 | |
that he was reinventing the process from scratch, | 1:14:55 | 1:14:57 | |
and that he was taking this incredible risk in doing so. | 1:14:57 | 1:15:00 | |
He didn't know how it would come out. | 1:15:00 | 1:15:02 | |
That's what makes really great painting, | 1:15:02 | 1:15:04 | |
this sense of risk that you feel as well, | 1:15:04 | 1:15:08 | |
of overcoming this thing, | 1:15:08 | 1:15:10 | |
and not something that just is so easy and so repetitious | 1:15:10 | 1:15:13 | |
that it has a quality of being riskless. | 1:15:13 | 1:15:15 | |
Lucian always had to challenge himself. | 1:15:19 | 1:15:21 | |
He always had to push himself further, | 1:15:21 | 1:15:23 | |
and as he got older he started doing more and more ambitious paintings. | 1:15:23 | 1:15:28 | |
He was in his late 60s when he did the two By The Rags. | 1:15:28 | 1:15:33 | |
I think this was a sort of test on himself. | 1:15:36 | 1:15:39 | |
It was a test on his concentration and a test on his memory. | 1:15:39 | 1:15:43 | |
When he was nearly the age of 70 Lucian found a startling new model, | 1:15:44 | 1:15:49 | |
Leigh Bowery, a performance artist. | 1:15:49 | 1:15:52 | |
He became a close friend, | 1:15:53 | 1:15:55 | |
but perhaps initially Freud chose him | 1:15:55 | 1:15:57 | |
because he was lost in wonder at Leigh's substantial body. | 1:15:57 | 1:16:01 | |
He loved the way that Leigh would volunteer extraordinary poses, | 1:16:03 | 1:16:07 | |
very taxing poses, three or four hours at a time at least | 1:16:07 | 1:16:10 | |
with your leg up and blood draining away. | 1:16:10 | 1:16:14 | |
The first one is really beautiful, but I think, | 1:16:16 | 1:16:19 | |
to my mind, an element of showbiz came in slightly. | 1:16:19 | 1:16:24 | |
I'm sure thousands of people would disagree with me, | 1:16:24 | 1:16:28 | |
but I feel there was more of a consciousness of the great museums, | 1:16:28 | 1:16:34 | |
and I don't think that was there before. | 1:16:34 | 1:16:36 | |
Yes, these are theatrical paintings, | 1:16:39 | 1:16:41 | |
but he was somebody who thought that theatricality | 1:16:41 | 1:16:44 | |
is part of the whole studio experience, | 1:16:44 | 1:16:46 | |
and that's why his paintings were done, I think. | 1:16:46 | 1:16:49 | |
He wanted to do big paintings, | 1:16:49 | 1:16:51 | |
grand paintings, paintings that challenged the pose | 1:16:51 | 1:16:54 | |
more than an ordinary sitter would possibly be capable of. | 1:16:54 | 1:16:59 | |
Freud's confrontational male flesh in his new paintings | 1:17:22 | 1:17:26 | |
was too much for the London galleries. | 1:17:26 | 1:17:28 | |
They thought no-one would buy them. | 1:17:28 | 1:17:30 | |
But having seen the exhibition at the Hirshhorn | 1:17:30 | 1:17:33 | |
one of America's most influential art dealers | 1:17:33 | 1:17:35 | |
dropped in to Freud's studio. | 1:17:35 | 1:17:37 | |
He pulls out the first Leigh Bowery painting, | 1:17:39 | 1:17:42 | |
which was Leigh Bowery's back. | 1:17:42 | 1:17:44 | |
And then he pulls out Leigh Bowery with a leg up, | 1:17:44 | 1:17:50 | |
and he pulls out one more Leigh Bowery in a red chair. | 1:17:50 | 1:17:53 | |
And by the way does this all by himself, and they're huge paintings, | 1:17:53 | 1:17:57 | |
he doesn't want anyone touching them, he pulls them out, no problem. | 1:17:57 | 1:18:01 | |
I see these three paintings, and I was absolutely taken by them. | 1:18:01 | 1:18:05 | |
The monumentality of them, I thought they were so fabulous, | 1:18:05 | 1:18:09 | |
and I turned to my wife and... | 1:18:09 | 1:18:11 | |
because I had been told before this | 1:18:11 | 1:18:13 | |
by a lot of dealers and friends of mine in London | 1:18:13 | 1:18:16 | |
that he was painting these male nudes and they are totally unsaleable, | 1:18:16 | 1:18:21 | |
and, you know, he's difficult to deal with all this kind of stuff. | 1:18:21 | 1:18:25 | |
Anyway, I asked my wife, "Do you think these are erotic?" | 1:18:25 | 1:18:29 | |
He had left the room. "Do you think these are erotic paintings?" | 1:18:29 | 1:18:32 | |
And she said, "No." I said, "Well I don't either. I think they're unbelievable." | 1:18:32 | 1:18:36 | |
So he came back in and I said, "If I can represent you worldwide, | 1:18:36 | 1:18:41 | |
"let's do it, if you'd like to." | 1:18:41 | 1:18:43 | |
I said, "There's no contract, if it doesn't work for you, you tell me, we stop. | 1:18:43 | 1:18:47 | |
"If it doesn't work for me I'm going to tell you and we stop, it's over." | 1:18:47 | 1:18:52 | |
When we agreed to work with each other we were having dinner, | 1:18:52 | 1:18:56 | |
and he said, "You know, I have a gambling debt, | 1:18:56 | 1:19:00 | |
"would you take care of it for me and see what you can do about it?" | 1:19:00 | 1:19:03 | |
I said, "Sure, no problem." What can it be? A gambling debt? | 1:19:03 | 1:19:07 | |
So I met with the bookie and I said, "I'd like to take care... | 1:19:07 | 1:19:13 | |
"find out what Lucian owes," | 1:19:13 | 1:19:15 | |
and he said, "That's wonderful, Bill, it's £2.7 million." | 1:19:15 | 1:19:19 | |
I said, "What?!" | 1:19:20 | 1:19:23 | |
In his 80s, far from slowing down, the variety of painting quickened. | 1:19:27 | 1:19:31 | |
Lucian continued to spring surprises. | 1:19:31 | 1:19:35 | |
He created a stir with his own brand of unflattering society portraits, | 1:19:35 | 1:19:40 | |
including an uncompromising portrait of the Queen. | 1:19:40 | 1:19:44 | |
I said, I suppose, perhaps rather cheekily to Her Majesty, | 1:19:48 | 1:19:52 | |
I think at some race meeting, | 1:19:52 | 1:19:54 | |
"What you think of Mr Freud's painting?" | 1:19:54 | 1:19:56 | |
"Very interesting", she said. Well, that can mean anything. | 1:19:56 | 1:19:59 | |
Whereas Prince Philip said, | 1:19:59 | 1:20:01 | |
"You're something mad being painted by that man." | 1:20:01 | 1:20:03 | |
Andrew Parker Bowles was also mad. | 1:20:05 | 1:20:08 | |
Well, it wasn't quite how I saw myself | 1:20:08 | 1:20:10 | |
but everybody else thought it was a wonderful picture. | 1:20:10 | 1:20:13 | |
I think, actually, except for my stomach showing and jacket undone, | 1:20:13 | 1:20:17 | |
I think he's painted the uniform brilliantly, which is not easy. | 1:20:17 | 1:20:21 | |
In 2007 Lucian flew to New York | 1:20:32 | 1:20:33 | |
in Bill Acquavella's private jet to see a major show of his work. | 1:20:33 | 1:20:38 | |
He travelled light, one spare shirt in a carrier bag. | 1:20:43 | 1:20:46 | |
He visited old friends, and stayed at the best hotel. | 1:20:46 | 1:20:51 | |
We had our own grand piano in the sitting room in the hotel suite, | 1:20:55 | 1:20:58 | |
so we tried to find a pianist then to come and play for us. | 1:20:58 | 1:21:02 | |
And then it was straight, so we arrived, | 1:21:02 | 1:21:05 | |
straight into the hotel, straight into MoMA | 1:21:05 | 1:21:08 | |
for one very rare occasion, Lucian actually came to the opening. | 1:21:08 | 1:21:12 | |
But within half an hour, 40 minutes, I mean, | 1:21:12 | 1:21:17 | |
people were just turning up, realising Lucian was there, | 1:21:17 | 1:21:20 | |
and we were just getting mobbed. | 1:21:20 | 1:21:24 | |
So we had to leave, in a sense, | 1:21:24 | 1:21:25 | |
it was a bit like a rock star or something appearing. | 1:21:25 | 1:21:29 | |
I think this has got so much to do with love | 1:21:50 | 1:21:54 | |
and the intimacy of two people spending their lives together. | 1:21:54 | 1:21:58 | |
The physical closeness, how their limbs are wrapped round each other, | 1:21:58 | 1:22:04 | |
shows an awful lot of trust within their relationship. | 1:22:04 | 1:22:08 | |
They seem very at ease. | 1:22:09 | 1:22:12 | |
I think when this painting was being made | 1:22:13 | 1:22:15 | |
this would be the main focus in their lives, | 1:22:15 | 1:22:18 | |
to be in this position every day for Lucian to make this painting happen. | 1:22:18 | 1:22:24 | |
And this painting of Big Sue is a day painting, painted in daylight. | 1:22:27 | 1:22:32 | |
And we went down Portobello Market | 1:22:35 | 1:22:38 | |
to find this old chenille type wall hanging. | 1:22:38 | 1:22:42 | |
But it is remarkable | 1:22:48 | 1:22:50 | |
when you look down into her feet, | 1:22:50 | 1:22:53 | |
and then into, through into the chair and back up. | 1:22:53 | 1:22:56 | |
It just shows you what life can be about. | 1:23:00 | 1:23:03 | |
And his life was always painting. | 1:23:03 | 1:23:07 | |
And, you know, now he's no longer here, | 1:23:07 | 1:23:10 | |
but these are just knockout to be around these again. | 1:23:10 | 1:23:13 | |
And 16 million to start it. 16 million for it. | 1:23:18 | 1:23:21 | |
At 16 million. | 1:23:21 | 1:23:22 | |
16 million. 17 million. 18 million, | 1:23:22 | 1:23:25 | |
At 18 million. 19 million. | 1:23:25 | 1:23:27 | |
At 19 million. 20 million. At 20 million. | 1:23:27 | 1:23:32 | |
At 20 million. 20,500,000, | 1:23:32 | 1:23:34 | |
21,500,000, | 1:23:34 | 1:23:36 | |
Ahead of you at 21,500,000. | 1:23:36 | 1:23:39 | |
22,500,000. | 1:23:39 | 1:23:42 | |
They are among my favourite of his paintings, the self portraits. | 1:23:54 | 1:23:57 | |
There is one particular where he sort of... | 1:23:57 | 1:24:00 | |
A very sort of smoky, bluey grey, | 1:24:00 | 1:24:02 | |
and his hair and his face, so tender, | 1:24:02 | 1:24:06 | |
almost like he has so much compassion for himself | 1:24:06 | 1:24:09 | |
as a much more fragile person, | 1:24:09 | 1:24:12 | |
and actually, I felt | 1:24:12 | 1:24:13 | |
looked much more fragile in that painting than he did in real life. | 1:24:13 | 1:24:16 | |
When he was in his 80s, he suddenly ask me to cut his hair. | 1:24:19 | 1:24:24 | |
I loved doing that because I hadn't ever really touched him that much. | 1:24:24 | 1:24:28 | |
So it was really lovely to run my hands through his hair and stuff. | 1:24:28 | 1:24:33 | |
He said, "You know, for me it's very difficult to do a self-portrait | 1:24:38 | 1:24:41 | |
"because I don't want to make myself look too good, | 1:24:41 | 1:24:44 | |
"but I don't want to make myself look too bad. | 1:24:44 | 1:24:47 | |
"And to get it just right is very difficult." | 1:24:47 | 1:24:50 | |
And that's the struggle, I think, with anyone doing a self-portrait | 1:24:50 | 1:24:55 | |
that is really honest about his painting. | 1:24:55 | 1:24:58 | |
And Lucian, he gets that. He just gets it. | 1:24:58 | 1:25:02 | |
I also have another portrait in my private collection, | 1:25:03 | 1:25:07 | |
a painting called Nude with the Blue Toenails. | 1:25:07 | 1:25:11 | |
And the reflection of Lucian's head is on the white mattress cloth. | 1:25:11 | 1:25:16 | |
And just from the shadow, and the shape of his hair, | 1:25:16 | 1:25:21 | |
you see immediately that it's Lucian's head. | 1:25:21 | 1:25:23 | |
He said that when he was painting this painting | 1:25:27 | 1:25:30 | |
he was thinking about that song | 1:25:30 | 1:25:33 | |
that comes at the moment where Gary Cooper has to face his enemy. | 1:25:33 | 1:25:38 | |
And he says, "I have to face the man who hates me, | 1:25:38 | 1:25:44 | |
"or die a coward in my grave." | 1:25:44 | 1:25:46 | |
And that was what went into this painting. | 1:25:46 | 1:25:49 | |
And it is looking at himself without narrative or without pity, | 1:25:49 | 1:25:55 | |
without rehearsing an explanation for anything. | 1:25:55 | 1:26:00 | |
# Do not forsake me, oh, my darlin' | 1:26:00 | 1:26:05 | |
# On this our wedding day | 1:26:05 | 1:26:10 | |
# Do not forsake me, oh, my darlin' | 1:26:10 | 1:26:16 | |
# Wait, wait long. # | 1:26:16 | 1:26:21 | |
At 28 million. | 1:26:21 | 1:26:22 | |
Yes. 28,500,000. At 28,500,000. | 1:26:24 | 1:26:30 | |
PILAR ORDOVAS: He never admitted that he cared at all about what happened at the auction. | 1:26:30 | 1:26:35 | |
At 29 million. | 1:26:35 | 1:26:36 | |
He, naturally, wanted to know the result but | 1:26:36 | 1:26:39 | |
I don't think it really mattered to him. | 1:26:39 | 1:26:41 | |
For him, when paintings left the studio | 1:26:41 | 1:26:43 | |
they had a life to live on their own. | 1:26:43 | 1:26:45 | |
This side now, 29,500,000. | 1:26:45 | 1:26:47 | |
I really wanted him to see the auction and what had happened, | 1:26:47 | 1:26:52 | |
and I put it up on the screen. | 1:26:52 | 1:26:54 | |
He was much more fascinated looking at the people | 1:26:54 | 1:26:58 | |
and look at that interesting posture, | 1:26:58 | 1:27:00 | |
or look at that other person, who is that, what are they doing? | 1:27:00 | 1:27:04 | |
much more so than really to look at the result. | 1:27:04 | 1:27:08 | |
At 30 million now. 30 million. | 1:27:08 | 1:27:11 | |
It's on this telephone, and selling, fair warning, at 30 million. | 1:27:11 | 1:27:16 | |
No. Brett, your bidder at 30 million. | 1:27:16 | 1:27:18 | |
APPLAUSE | 1:27:18 | 1:27:20 | |
It was always amazing when you went into his house. | 1:27:25 | 1:27:28 | |
He'd come to the door | 1:27:28 | 1:27:30 | |
and give you a shy smile, | 1:27:30 | 1:27:32 | |
his head would sort of be slightly bowed. | 1:27:32 | 1:27:36 | |
And I just remember feeling, it was such a special feeling, | 1:27:38 | 1:27:43 | |
just coming in, and walking into that house. | 1:27:43 | 1:27:47 | |
And I never wanted to say anything, apart from, "Hello, and how are things?" | 1:27:47 | 1:27:52 | |
The first two or three minutes | 1:27:52 | 1:27:53 | |
were always the most magical in a way, | 1:27:53 | 1:27:55 | |
just walking into that house. | 1:27:55 | 1:27:57 | |
Subtitles by Red Bee Media Ltd | 1:28:50 | 1:28:53 |