Lucian Freud Quotes - Page 2

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• I don't want any colour to be noticeable... I don't want it to operate in the modernist sense as colour, something independent... Full, saturated colours have an emotional significance I want to avoid.

  Lucian Freud

  Independent, Emotional, Want

  25 Copy quote

• The paintings that really excite me have an erotic element or side to them irrespective of subject matter

  Lucian Freud

  Erotic, Elements, Matter

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• A painter's tastes must grow out of what so obsesses him in life that he never has to ask himself what it is suitable for him to do in art.

  Lucian Freud

  Art, Taste, Obsession

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• The character of the artist doesn't enter into the nature of the art. Eliot said that art is the escape from personality, which I think is right. We know that Velázquez embezzled money from the Spanish court and wanted power and so on, but you can't see this in his art.

  Lucian Freud

  Art, Character, Thinking

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• The model should only serve the very private function for the painter of providing the starting point for his excitement

  Lucian Freud

  Artist, Excitement, Starting

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• Sometimes, when I've been staring too hard, I've noticed that I could see the circumference of my own eye.

  Lucian Freud

  Eye, Sometimes, Staring

  "ART REVIEW; Raw Realism That Dares You Not to Flinch" by Michael Kimmelman, www.nytimes.com. March 21, 2003.

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• The only way I could work properly was by using the absolute maximum of observation and concentration that I could possible muster.

  Lucian Freud

  Way, Observation, Concentration

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• I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.

  Lucian Freud

  Art, Rooms, Facts

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• The character of the artist doesn't enter into the nature of the art

  Lucian Freud

  Art, Character, Artist

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• And, since the model he faithfully copies is not going to be hung up next to the picture, since the picture is going to be there on its own, it is of no interest whether it is an accurate copy of the model.

  Lucian Freud

  Artist, Next, Interest

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• 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.

  Lucian Freud

  People, Care, Rooms

  Lucian Freud, Hayward Gallery, Arts Council of Great Britain (1974). “Lucian Freud: catalogue of an exhibition at the Hayward Gallery, London, 25 January-3 March 1974 ... and at 3 other galleries, 6 April-23 June 1974”

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• Losing as much money as I can get hold of is an instant solution to my economic problems.

  Lucian Freud

  Gambling, Losing, Problem

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• When I look at a body it gives me choice of what to put in a painting, what will suit me and what won't. There is a distinction between fact and truth. Truth has an element of revelation about it. If something is true, it does more than strike one as merely being so.

  Lucian Freud

  Giving, Choices, Doe

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• I have a hatred of habit and routine. And what dogs love is just that. They like regular everything, and I don't have regular anything. I have a timetable, but no routine.

  Lucian Freud

  Dog, Love Is, Hatred

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• I use the gallery as if it were a doctor. I come for ideas and help - to look at situations within painting, rather than paintings.

  Lucian Freud

  Ideas, Doctors, Use

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• When I look at a body it gives me choice of what to put in a painting, what will suit me and what won't

  Lucian Freud

  Artist, Giving, Choices

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• The process of creation becomes necessary to the painter perhaps more than is the picture. The process in fact is habit-forming

  Lucian Freud

  Facts, Creation, Habit

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.

  Lucian Freud

  Taken, Quality, Painter

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• A painter must think of everything he sees as being there entirely for his own use and pleasure.

  Lucian Freud

  Thinking, Use, Being There

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• I have a timetable, but no routine.

  Lucian Freud

  Routine, Timetables

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• I am only interested in painting the actual person, in doing a painting of them, not in using them to some ulterior end of art. For me, to use someone doing something not native to them would be wrong.

  Lucian Freud

  Art, Would Be, Use

  "Lucian Freud Paintings". Book by Robert Hughes, 1982.

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• The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.

  Lucian Freud

  Self Esteem, Body, Faces

  Lucian Freud, Rolf Lauter, Jean Christophe Ammann, Craig Hartley, Museum für Moderne Kunst (Frankfurt am Main, Germany) (2001). “Lucian Freud: naked portraits : Werke der 40er bis 90er Jahre”, Hatje Cantz Publishers

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• The paintings live because their creator has been passionately attentive to their theme, and his attention has left something for us to look at. It seems a sort of miracle.

  Lucian Freud

  Miracle, Looks, Attention

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