In her work work on Degas, Heather Dawkins has referred to the body as a 'memorable space'. So it's this idea of self-examination that I saw in it. But going beyond that there are similar ways of how their paint and the colors they use. Does Saville then, worry about her own size? The painting is deliberately ambiguous. I use me all the time because it's really reliable, you're there all the time.
Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. It's like sculpture or something. White highlights shade into pink mid-tones against mottled blue shadows. What do you make of this? I'm interested in the physical power a large female body has - a body that occupies a lot of physical space, but also someone who's acutely aware that our contemporary culture encourages her to disguise her bulk and look as small as possible. Saville's general strategy is to exaggerate the age-old artistic obsession with the female nude -- reflected in Titian, Rubens, Rembrandt and Ingres, for example -- to extremes of imposing wall-like massiveness, where the body's and the painting's surface become one. But when the Kunsthaus museum in Zürich paired their works next to each other in a show that opened this month, the resulting dialogue provided a fascinating look at figurative painting.
I shall examine the nature of these disciplines, how they are imposed and by whom. I don't think there is anything wrong with beauty. The weathered skin becomes a map of their existence; their bruises, scars, wrinkles and worry lines are like a chart of their passage through life, each one suffered and each one healed, but indelible. Estimate: £600 - £800 Description: Jenny Saville b. You can't just contemplate You have to become active as a looker. Provenance: Acquired directly from the artist by the present owner Literature: Chris Townsend, Vile Bodies, Munich 1998, no.
But is the figure lying down or standing up? Narcissus, National Gallery of Scotland, Edinburgh. Painted in 1992, this notable early work is both seductive and disturbing in its depiction of the female form. I use the mirror more than actually looking at the piece myself. Her mouth hangs slightly open, suggesting belabored breathing, while her features seem swollen and puffy. In ''Hyphen,'' in which a double portrait of the artist and her sister suggests a two-headed woman, we see glimpses of raw canvas tinted and splattered red as if with blood or mucous membrane.
I find working from life really intimidating. Some critics have seen in the work intimations of mortality, mistaking its openness and vulnerability for weakness, but the allusive title implies a sense of continuance, endurance and perseverance despite her immobility, while her unflinching honesty is an act of unusual and life affirming boldness. If the painter is indeed her own model, the narrative is one of self-examination to which we as viewers are witnesses. Driven by an awareness of identity politics, she has adopted the sexual discourse explored by such predecessors in the feminist tradition as Cindy Sherman, Barbara Kruger and Kiki Smith. Schiele is represented in the exhibition by thirty-eight paintings and forty works on paper. Confronted first by the sheer size and weight of this portrait, one feels like a child in its presence.
Very close inspection reveals a few short hairline drying cracks in the top right hand corner and three unobtrusive scratches to the black pigment in the lower right hand corner. So I don't think there's anything wrong in having a completely different image to the one you set out with in the beginning. Our Approach: Here at The Athenaeum, we work very hard to make this site a sanctuary from the commercial web. For the same reason we hestiate to ridicule; and we dare not pity. It has lots of connotations. It belongs to a group of paintings that convinced Charles Saatchi to launch Saville's career in the international art world and within the space of two years she had already established her reputation as one of Britain's leading young artists.
You're the artist but you're also the model. The low perspective visually distorts her frame, shrinking the head so that she appears to gaze down from a great height as her body assumes the dimensions of some vast landscape that the viewer is invited and dared to survey. First edition, copy 17 of 25 copies with print. What distinguishes Saville from other paint-obsessed representers of the naked human body, is the power of her brilliant and relentless embodiment of our worst anxieties about our own corporality and gender. Her closed eyes make her unable to notice or question our scrutiny, passive to our gaze. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Both artists used mirrors and photography in creating their portraits and self-portraits.
Light blue around the third eye make her look simultaneously pensive and stunned. I don't think there is anything wrong with beauty. I really don't care where I get it from. Once pubic har gets further up, it combines with the flesh much more than on your head. With Plan, Saville collapses all three of these spaces. I wanted to work with a large female body. Here, especially in the application of makeup and the selection of clothes, art and discipline converge.
For instance, Jenny Saville, an artist who I will talk about later in the month, has a variety of influences one of them being Francis Bacon. Furthermore, given Saville's coming of age during the golden era of Young British Art, her painting is fused with a conceptual edge. I spent a long time on this one. In fact, this painting is really based on me. I think you've got the solidity of the body of the paint itself. Schiele was a friend and follower of Gustav Klimt and Oskar Kokoschka, but he soon cast off their influence as he refined his own obsessions.
Indeed, given Freud's increased interest in two imposingly large bodies, first Leigh Bowery, the performance artist, and then Sue Tully, the Benefits Supervisor, throughout the 1990s, the comparisons continue. I don't like the idea of just being the person looking. For instance in Saville's Rosetta 2 there are beautiful purples and blues throughout the piece and in Bacon's there are purples, blues, and reds. I had it about a year. A powerful statement, Still is totally and candidly devoid of the tactical self-fashioning that has characterized portraiture since the Renaissance. Art, Age and Genders, Orleans House Gallery, Riverside, Twickenham, England. I don't get anything from it.