Blond Girl, Night Portrait - Lucian Freud
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Description
A 1985 oil painting by Lucian Freud, capturing a reclining female figure with raw, tactile brushwork and a muted, earthy palette.
Lucian Freud, a central figure in twentieth-century British painting, produced this work in 1985. The painting depicts a reclining female figure, captured with the artist's characteristic focus on the physical weight and texture of the human form. Freud often required his subjects to sit for extended periods, allowing him to observe the skin and musculature with clinical precision.
The composition shows the subject resting on a rumpled, olive-toned fabric. The artist employs a palette of ochre, fleshy pinks, and muted greens to render the contours of the body. His brushwork is deliberate and heavy, building up the surface of the canvas to create a sense of mass. The lighting appears artificial, casting shadows that define the hollows of the collarbone and the folds of the skin.
Freud avoids idealisation in this portrait. Instead, he presents the subject in a state of repose, where the vulnerability of the pose contrasts with the raw, unvarnished application of paint. The background remains minimal, ensuring the viewer focuses entirely on the figure. This approach to portraiture reflects the artist's interest in the psychological presence of his sitters. By stripping away decorative elements, he forces an encounter with the physical reality of the human body. The work demonstrates his ability to transform the mundane act of sitting into a study of human existence, where every mark on the canvas contributes to the overall sense of gravity and presence.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Blond Girl, Night Portrait - Lucian Freud
Artist Biography
Lucian Freud
He was Sigmund Freud's grandson. The family left Berlin for London in 1933, when Lucian was ten. He became a British citizen in 1939. The biographical connection to psychoanalysis is unavoidable and he resisted it throughout his career, though his paintings of naked bodies on beds and sofas, viewed from above in harsh overhead light, invite exactly the clinical reading he rejected.
His early work is tight, linear, almost Pre-Raphaelite in its precision: the portrait of Francis Bacon from 1952, Girl with a White Dog, Hotel Bedroom. The shift came in the late 1950s when he switched from sable brushes to hog-hair, thickened the paint, and began working on a larger scale. The flesh became heavier, more present, more uncomfortable to look at.
He painted everyone the same way. The Queen sat for him (the result was controversial). His studio assistant and bookmaker 'Big Sue' Tilley posed naked on a sofa; the painting sold for GBP33.6 million. His whippets appear repeatedly. He insisted on working from life, never photographs, and never took commissions. People came to him.
He worked every day until a few weeks before his death in 2011, at eighty-eight. His last painting was unfinished on the easel.
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