Lucian Freud's painting, Evening in the studio, was a painting of topic on the the PaintersNYC blog. Lucian's usage of imagery, no doubt, created much controversy on the blog site. The criticism consisted of a few key issues. On technique, process and skill the painting was criticized on being too "academic" and not transformed enough to evoke "desire". On overall meaning and composition, an overwhelming majority of bloggers got caught up in their own interpretations of the large naked female and how she is depicted in the painting. This led to greater societal and political arguments which ultimately drowned out discussion of the actual painting.
Criticisms on Lucian's skill and process were only directed at his overall composition. Evening in the studio was accused of being academic. A blogger was directing his criticism at the sense of flatness in emotion of the painting. The colors and process did not do enough to move the viewer enough to see past the obvious imagery. Another blogger added that the rendering and attention to the figures was not enough to transform the painting into that next level. This was a popular issue because another criticism was that the composition and rendering also lacked "desire".
The majority of other criticisms were focused on the aspect of how the female figures were used in the painting. The large woman depicted in the foreground stirred up a great deal of controversy. Instead of exploring the painting as a painting, the imagery and usage of that woman took up most of the attention. Lucian is pressing the "same tired buttons" of traditional gender issues was a clear point made by a blogger. Many also stated that this painting was an example of the "male gaze".
I found myself being able to see where both criticisms were coming from. Although the painting showed great skill, I did not know what to take from the overall composition. The imagery and placement of the figures evoked a sense of symbolism. It is vital for a painting to be as clear as possible so that the viewer can feel confidant in whatever reaction they get from the work. When the viewer is not confidant, that is when the focus of the painting begins its discourse. I believe that it was because of this mistranslation, on the viewers part, that the flood gates of political and controversial conversations begin.
I identified with Lucian Freud's work because of his use of the female form in his compositions and how he applies his personal style of brush strokes to enhance his painting. In my first project of the semester, I made a graffiti style portrait of a woman's face. This caused many of my classmates to go off on a tangent on the meaning of that woman and less on the overall composition. This taught me that I had to be more concise with my composition the next time I use imagery of the female form specifically due to not wanting my work to get lost in a greater argument over the sexes. In addition, I also took note on how Lucian's technique was criticized and became a reason why viewers were misled and confused. From this, I learned that composition alone may not be enough to make a painting translate to the viewer. Color, brushstroke and technique need to be used in a way that enhances my imagery to take it to that "next level". I believe that one reaches that "level" when the viewer is so taken by the work that it becomes acceptable for questions to remain unanswered, because the work, itself, takes all the attention.
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