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That rectangle of paint on the wall is not an homage but a riposte to abstraction. The fact that Bowery is posing—and the fact that he was a well-known performance artist—might lead us to think about personality as performance, a constant playing of social roles, but any such Existential speculations based upon this painting are destined to collide with a solid wall of flesh. Thank you for subscribing. This is painting after Pollock, cognizant of his achievement but hardly reverent. When presented with an image this original, the first reaction of art historians is to seek a precedent in the past.

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But this pathos, this sense of Bowery crouching under a shell, is contradicted by the massive, powerful leg that protrudes at a strong diagonal and is emphasized by a wide swath of light flesh tone painted from hip to knee. Probably because it was in his way. The application is forbidding, almost brutal, as if Freud is daring us to see this paint as flesh, this flesh as paint. The Metropolitan Museum of Art. Earlier examples are smaller in scale and crafted in a distinctive, meticulous style with extreme precision. Thank you for subscribing.

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Paintings Credit Line. That rectangle of paint on the wall is not an homage but a riposte to abstraction. The application is forbidding, almost brutal, as if Freud is daring us to see this paint as flesh, this flesh as paint. In the end, however, Bowery signifies nothing but himself, a fat man in a studio. Later, the New York abstractionists, with a near-fanatical doctrine of truth to materials, dripped, threw, poured, sprayed and stained their paintings on canvas. Looking at the painting, one remembers what the Lilliputians called Gulliver.

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Description: Subscribe to our RSS feed. Looking at the painting, one remembers what the Lilliputians called Gulliver. Naked Man, Back View is a near-perfect example of post-abstract figure painting, eminently conscious of materials and true to the reality of flesh and fabric. Indeed, it is the essence of painting. When I look at this work, I see something that has no important relationship to Ingres or classical sculpture or Francis Bacon. In the end, however, Bowery signifies nothing but himself, a fat man in a studio. Earlier examples are smaller in scale and crafted in a distinctive, meticulous style with extreme precision. For more than half a century, Freud has concentrated on depicting the human face and figure in paintings, drawings, and etchings. Paintings Credit Line. Beauty and Terror is the fruit of those studies.
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