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A Painter's Progress: A Portrait of Lucian FreudFrom Jonathan Cape
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For nearly twenty years David Dawson was Lucian Freud’s assistant, companion, and model. Freud moved in rarefied, powerful circles and was tenacious about protecting his privacy. He also carefully avoided distraction. With few exceptions, he wanted only those he knew well, like the late Bruce Bernard, to photograph him. David Dawson, however, was in a unique position, and as Freud became comfortable in the presence of Dawson’s camera, photographing became part of the daily ritual of the studio. These photographs reveal in a most intimate way the subjects and the stages of paintings in progress. Few artists, if any, have had their lives and their work recorded over such a length of time.
Despite Freud’s sense of privacy, his circle was wide. Among those who regularly visited Freud were figures from the art world, including art historian John Richardson, and painters David Hockney, and Frank Auerbach, along with model Kate Moss and friends such as the Duke of Beaufort. The book begins in Freud’s old studio in Holland Park and then records the artist in his eighteenth-century house in Kensington, the first floor of which was his final studio. Dawson also photographed Freud on his visits to look at masterpieces in various museums in New York, Amsterdam and Madrid. The book ends with views of the rooms in which Freud’s own extraordinary collection of paintings was hung. It is the only record of the house itself before the dispersal of the art on his death, but ultimately, the photographs create an intimate portrait of the man. The final images in this book are of the hanging of Freud’s work in his posthumous London exhibition at the National Portrait Gallery. Haunting and fascinating, this is a revelatory document about one of our most important and influential painters.
- Sales Rank: #3948221 in Books
- Original language: English
- Number of items: 1
- Dimensions: 12.60" h x .83" w x 12.60" l, 4.96 pounds
- Binding: Hardcover
About the Author
David Dawson was born in Wales in 1960. After leaving the Royal College of Art, he combined his work as a painter with becoming an assistant to Lucian Freud; he remained with him until Freud’s death in 2011. His photographs, alongside those of Bruce Bernard, were published in Freud at Work in 2006. Dawson’s paintings have been shown at Pallant House Gallery, Chichester, and by Marlborough Fine Art. His photographs of Lucian Freud have been exhibited at the National Portrait Gallery in 2004, at Hazlitt Holland-Hibbert, London, and at the Sigmund Freud Museum in the former Freud apartment in Vienna in 2013. He divides his time between London, Wales, and New York.
Most helpful customer reviews
5 of 5 people found the following review helpful.
You cannot help but be a little disappointed in this book when none of the reviews tell ...
By Ted Epand
You cannot help but be a little disappointed in this book when none of the reviews tell you that there is hardly any written content. It is basically a picture book. I'll agree that the photos are revealing, that the content is appealing, and the potential was so astounding! But the letdown, when you are done reviewing the photos, and have so many questions about the man, about the author, about the work. Little is said, which kind of makes you feel that the author is angling for a future "tell all" to bring in additional cash.
4 of 4 people found the following review helpful.
, A Great Portrait of the Life of Lucian Freud
By Christopher Schindler
This review is written by Christopher's wife, Christine Zachary.
As a painter myself and admirer of the work of Lucian Freud, I've read many books and articles about him. I checked most out of the library, but actually purchased this book after getting it from the library as I think it is something valuable to another artist, and it has been made and compiled by a remarkable artist himself, David Dawson.
David Dawson must be quite an interesting person to have spent so much time with Lucian Freud and to have helped make it possible for a genius like Freud to paint more easily due to Dawson's assistance. He also took the many photos which comprise this book. The photos are extremely beautiful, arresting works of art in and of themselves. I wonder actually whether Dawson isn't a natural photographer rather than a painter as they are all such good compositions and use light and shade much as Lucian himself used it in his paintings.
I had to own the book for the photos and for Dawson's very tasteful reticence to gossip or write much at all. I believe that an artist deserves to have a certain amount of privacy attached to his life. What after all do we know about Shakespeare or many great painters. Do we really need to know all the stuff about Van Gogh when his sunflowers are perhaps "enough". There is already too much written about Freud. (in my view of course) Dawson simply lets himself and the artist he is depicting speak for themselves.
I hope Mr. Dawson will do another book of photos, and again recommend this book wholeheartedly.
3 of 3 people found the following review helpful.
Behind the scenes
By Andrew Everett
A Painter’s Progress is a collection of 241 behind-the-scenes photographs taken by David Dawson, who was Lucian Freud’s assistant for nearly twenty years. Many of the photos taken in Freud’s studio include nude models, portrait sitters, and his whippets, Pluto and Eli. There are photos documenting several iterations of works in progress. Other photos include Freud viewing artwork in museums, meeting prominent people, having breakfast, and relaxing at home. There are also photos showing Freud’s posthumous exhibition being installed at the National Portrait Gallery in London.
The messy walls are a quirky feature of Freud’s studio. “The walls were covered in semi-dry, clotted paint scraped from his palette when he cleaned. The paint was left to dry out of reach, building up over many years like deposits of guano on rock. He also used any bare wall to scribble reminders about a particular painting, phone numbers or paint colours that were running low. I would come to check the walls as a kind of ongoing diary.”
Awkward is a word often used by critics describing Freud’s paintings. “He always tried to catch a scene rather than compose it. Speaking to Bill Feaver, Lucian has said, ‘If I’m putting someone in a picture I like to feel that they’ve fallen asleep there, or they’ve elbowed their own way in. They are there not to make the picture easy on the eye or more pleasant...’ He liked things to look awkward in the way that life looks awkward. The idea of a story didn’t bother him as he thought ‘everything’s a story’.”
“He would come very close to the sitter to get more information from different angles. Once he had what he needed he would clean the palette of its previous colour with his knife, adding paint to the wall. Then he would remix a new colour for almost every brushstroke. He didn’t want a single colour to dominate a painting. Once the fresh colour was mixed he would look again at the sitter, make any further adjustments to the colour, and when he felt he had enough information he would paint. He wanted his portraits of you to be how you are.”
Dawson also includes some direct quotes from Freud about painting his subjects:
'You have to trust what you see and what you feel… I never put anything into a painting that I don’t actually see when I’m painting… I am always reacting to what is there. You have the person in front of you and you are trying to relay something of who the person is as a physical and emotional presence.'
'If you don’t over-direct your models but focus on the physical presence, interesting things often happen.'
'Being naked has to do with making a more complete portrait. A naked body is somehow more permanent, more factual. When someone is naked there is in effect nothing to be hidden. Not everyone wants to be that honest about themselves… That means I feel an obligation to be equally honest in how I represent their honesty. It is a matter of responsibility.'
'In a way I don’t want the painting to come from me. I want it to come from them.'
“As a sitter you held the position of being passive, with Lucian continually encouraging you. He made you feel that you were understood by him. He could not be shocked by any confession or by anything said. He was immensely interested in other people. There was always a sense of balance around Lucian.”
The book includes photos of Queen Elizabeth II posing from her portrait at Saint James Palace. “The Queen was very generous and cleared her calendar for the amount of time that would suit Lucian and give him every chance to complete the painting. Henrietta Edwards, a courtier, stepped in as the model when it came for the diadem [crown] to be painted. The following year he painted Henrietta’s portrait, Woman with Eyes Closed.”
Dawson describes Freud’s friendship with Frank Auerbach. “The depth of the friendship between the two was reflected in the fact that when Lucian was near to finishing a painting we would always phone up and ask Frank to come round. He was the one person Lucian would listen to. He would take something from what Frank might say about a painting. Frank would arrive at the studio at first light. Lucian was a huge admirer of Frank’s work and lived with many of his paintings. He told me that these paintings were the ones he wanted to live with, learn from, and inspire him.”
For painters interested in Freud’s materials, the book includes a list of Freud’s twenty favorite paint colors. The author also notes, “Lucian told me that the most helpful book on paint is The Materials of the Artist and Their Use in Painting by Max Doerner.”
The book has much less text than I expected. Given the author’s special access, I’m sure he has many more interesting insights and stories about the artist’s life, but maybe less is more. Maybe a picture is worth a thousand words. In any case, these photos offer an interesting behind-the-scenes look at the life of a contemporary master of representational art.
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