Portrait of Ib 1990

Lucian Freud’s ‘Portrait of Ib’ is rendered in oil paint, a material with a rich history, yet here, it’s pushed beyond tradition. Notice Freud's distinctive impasto technique, building up thick layers, creating a topography of pigment. These aren't mere strokes but deliberate, almost sculptural applications. Each daub of paint is like a physical record of Freud's observation, his concentration on the sitter. The weight of the oil, its viscosity, all contribute to the sense of density, both in the paint and the person it represents. The sitter's form emerges from the process, from the sheer labour involved. Freud seems to acknowledge the materiality of paint itself, elevating it beyond mere representation. It challenges notions of fine art as purely intellectual, highlighting the vital role of craft, skill, and sheer physical effort in creating a work of art. In doing so, it underscores the value of the artist’s labor, an act of slow, deliberate making in a world of mass production.