Ali vs. Frazier, The ‘Thrilla in Manila’ 1975

LeRoy Neiman made this in 1975, likely with fast, expressive brushstrokes. I imagine Neiman, ringside, quickly capturing the frenzy of the fight, layering strokes of red, orange, and yellow to convey sweat, blood, and adrenaline. You know, painting is a sport too, a lot of energy goes into it. The immediacy of the marks suggests he was trying to seize a fleeting moment, a gesture, or an expression that encapsulates the essence of the match. The figures are built up through bold, gestural strokes, almost like abstract shapes that coalesce into recognizable forms. The way the paint is applied, thick in some areas and thin in others, gives the image a sense of dynamism and vitality. This reminds me of other painters like de Kooning who try to trap energy on the canvas. The rawness of the brushwork adds to the intensity of the scene, pulling you right into the ring. It is about how we remember something—a burst of color, a flash of movement. In this way, Neiman freezes time, and leaves it open.