It is nice to be invited to a special view of the recently opened show of Lucien Freud at the Gemeente Museum in The Hague. I didn't see that many friends, but it was nice to know that at least half the visitors were artists.
My favorite paintings:
The first one shows more background than figure which makes it an exception in the works.
In the pure portrait tradition the mother as model.
Elsa Hartjesveld (who also made a beautiful portrait of her mother -second photo) and Will Lutz
I didn't know Freud painted Rob Oudkerk !?(the second photo is the real Oudkerk)
Flesh: purple, green, pink and orange. The sharp face of a dog. Two paintings of mine of two dogs.
Few of the paintings had and added piece of canvas. Another sign that he doesn't care very much of the composition as he starts painting, it comes later as the painting evolves.
Hier 3 examples.
It is quite interesting how he paints, apparently he doesn't draw a first sketch or anything, he starts with the most important part of the painting, growing around it, with a lot of attention and probably coming seldom back to those already 'finished' parts. Except on later works where he works so much on some parts that it becomes thick and in a way less strong as important features of the faces are blurred through this working in many layers.
A good example that he doesn't care that much about composition.
This painting of 'Two plants" was made during 3 years! What a patience. It is an mazing painting but in the most 'Royal academy' tradition.
His daughters. Every time I see the one with both of them I think of the time when my cousin Margarita Foncerrada arrived in London where I was living, and I imagine the both of us, being extremely close to each other, and learning, and doing things together. The painting was made in that same year 1988. In a way I see myself reflected in Esther Freud.
Annabelle is also a nice-harsh portrait.
When I lived in London I went to a nude Saturday studio together with my sister Monica Polin, it was the time I became acquainted with the painting methods and thinking of the English and I started going as often as I could to the Tate where I saw for the first time a 'Lucian Freud' painting. My sister was already in love with his works so she was the one who introduced me to his art. I also saw many 'lesser' Freud in many of the London galleries. He was the measure, he was the teacher, he was the best student. I had encountered feelings about his work, the older ones where in a way more independent.
I can see afterwards there is a lot of influence of that period on my work, specially now that I paint portraits but also mixed with the atelier experience at my teacher Octavio at the Esmeralda in Mexico City, where we all adored Egon Schiele.
On the next work there are a bit more clear this big color parts that together as in a puzzle build the face. Next a portrait I made of Halina Reijn, where the spots effect can be seen.
Artists enjoying their museum.
Micky van Keulen and the artist Ilse Versluijs
Happy people.
A recommendation to live the 'English experience'
My favorite paintings:
The first one shows more background than figure which makes it an exception in the works.
In the pure portrait tradition the mother as model.
Elsa Hartjesveld (who also made a beautiful portrait of her mother -second photo) and Will Lutz
I didn't know Freud painted Rob Oudkerk !?(the second photo is the real Oudkerk)
Flesh: purple, green, pink and orange. The sharp face of a dog. Two paintings of mine of two dogs.
Few of the paintings had and added piece of canvas. Another sign that he doesn't care very much of the composition as he starts painting, it comes later as the painting evolves.
Hier 3 examples.
It is quite interesting how he paints, apparently he doesn't draw a first sketch or anything, he starts with the most important part of the painting, growing around it, with a lot of attention and probably coming seldom back to those already 'finished' parts. Except on later works where he works so much on some parts that it becomes thick and in a way less strong as important features of the faces are blurred through this working in many layers.
A good example that he doesn't care that much about composition.
This painting of 'Two plants" was made during 3 years! What a patience. It is an mazing painting but in the most 'Royal academy' tradition.
His daughters. Every time I see the one with both of them I think of the time when my cousin Margarita Foncerrada arrived in London where I was living, and I imagine the both of us, being extremely close to each other, and learning, and doing things together. The painting was made in that same year 1988. In a way I see myself reflected in Esther Freud.
Annabelle is also a nice-harsh portrait.
When I lived in London I went to a nude Saturday studio together with my sister Monica Polin, it was the time I became acquainted with the painting methods and thinking of the English and I started going as often as I could to the Tate where I saw for the first time a 'Lucian Freud' painting. My sister was already in love with his works so she was the one who introduced me to his art. I also saw many 'lesser' Freud in many of the London galleries. He was the measure, he was the teacher, he was the best student. I had encountered feelings about his work, the older ones where in a way more independent.
I can see afterwards there is a lot of influence of that period on my work, specially now that I paint portraits but also mixed with the atelier experience at my teacher Octavio at the Esmeralda in Mexico City, where we all adored Egon Schiele.
On the next work there are a bit more clear this big color parts that together as in a puzzle build the face. Next a portrait I made of Halina Reijn, where the spots effect can be seen.
Artists enjoying their museum.
Micky van Keulen and the artist Ilse Versluijs
Happy people.
A recommendation to live the 'English experience'
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