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Thur, (re:repellant images of flesh, claylike, etc.)
Because of his use of crimnitz (lead) white, and his theory behind its use, Freud tries to re-create reality of being. He is trying (from my understanding) to actually create the living presence on his canvas rather than make an illusion of reality. The substance of the paint itself becomes a living, breathing creature to enjoy. I'm paraphrasing, of course, but Freud himself explains in complete detail what he is trying to accomplish in the retrospective collection (the Met, NYC late 90's) book which is probably available on ebay. It's the finest collection of Freud reproductions to date and I highly recommend it.
If for nothing else, students may choose to look into the book for lifelike flesh colors to use in portraits. In moderation, variations of his (exceedingly pure) colors can be used quite effectively in portraiture rather than the usual grey-brown mixes that beginning painters use.
-j
Thur, I personally agree that the images become repellant in the traditional sense of beauty, but his physical use of paint is unmatched (that I've found) in purely figurative contemporary painting.
Richard, this was my point re: the use of unattractive models to experiment with materials. Google: Lucian Freud
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