Bella 1986

Lucian Freud painted "Bella" in oil on canvas, employing a traditional, time-honored medium. But look closely, and you'll see that while the materials might be conventional, Freud's approach is anything but. The thickness of the paint, applied in visible layers, almost sculpts the face. This isn't about creating a smooth illusion; it's about the materiality of the paint itself. Each brushstroke is a physical act, a testament to the artist’s labor. We see the evidence of his hand, and the way he worked and reworked the surface. The flesh tones, a mix of warm and cool colors, highlight the inherent qualities of oil paint - its ability to capture light, shadow, and texture. Freud engages with centuries of portraiture, while also breaking from it. He wasn't interested in idealizing his subject; instead, he portrays Bella with brutal honesty. This is a challenge to traditional notions of beauty, and an emphasis on the lived reality of the individual. By valuing the process and the materials so openly, Freud elevates the act of painting itself, and invites us to consider the labor and skill involved in its creation.