Best 45 quotes of Lucian Freud on MyQuotes

A moment of complete happiness never occurs in the creation of a work of art. The promise of it is felt in the act of creation but disappears towards the completion of the work. For it is then the painter realises that it is only a picture he is painting. Until then he had almost dared to hope the picture might spring to life.

And, since the model he faithfully copies is not going to be hung up next to the picture, since the picture is going to be there on its own, it is of no interest whether it is an accurate copy of the model.

A painter must think of everything he sees as being there entirely for his own use and pleasure.

A painter's tastes must grow out of what so obsesses him in life that he never has to ask himself what it is suitable for him to do in art.

As far as I am concerned the paint is the person. I want it to work for me just as flesh does

Full, saturated colours have an emotional significance I want to avoid.

I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.

I am only interested in painting the actual person, in doing a painting of them, not in using them to some ulterior end of art. For me, to use someone doing something not native to them would be wrong.

I could never put anything into a picture that wasn't actually there in front of me. That would be a pointless lie, a mere bit of artfulness.

I don't want any colour to be noticeable... I don't want it to operate in the modernist sense as colour, something independent... Full, saturated colours have an emotional significance I want to avoid.

If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.

I have a hatred of habit and routine. And what dogs love is just that. They like regular everything, and I don't have regular anything. I have a timetable, but no routine.

I have a timetable, but no routine.

I paint people, not because of what they are like, not exactly in spite of what they are like, but how they happen to be.

I remember Francis Bacon would say that he felt he was giving art what he thought it previously lacked. With me, it's what Yeats called the fascination with what's difficult. I'm only trying to do what I can't do.

I think half the point of painting a picture is that you don't know what will happen... that if painters did know what was going to happen they wouldn't bother to do it.

It is the only point of getting up every morning: to paint, to make something good, to make something even better than before, not to give up, to compete, to be ambitious.

It is through observation and perception of atmosphere that he [the artist] can register the feeling that he wishes his painting to give out.

I use the gallery as if it were a doctor. I come for ideas and help - to look at situations within painting, rather than paintings.

I've always wanted to create drama in my pictures, which is why I paint people. It's people who have brought drama to pictures from the beginning. The simplest human gestures tell stories.

I want paint to work as flesh... my portraits to be of the people, not like them. Not having a look of the sitter, being them ... As far as I am concerned the paint is the person. I want it to work for me just as flesh does.

I work from the people that interest me, and that I care about, in rooms that I live in and know. I use the people to invent my pictures, and I can work more freely when they are there.

I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them.

Losing as much money as I can get hold of is an instant solution to my economic problems.

My work is purely autobiographical... It is about myself and my surroundings.

Painting is sometimes like those recipes where you do all manner of elaborate things to a duck, and then end up putting it on one side and only using the skin.

Sometimes, when I've been staring too hard, I've noticed that I could see the circumference of my own eye.

The aura given out by a person or object is as much a part of them as their flesh.

The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their colour or smell ... Therefore the painter must be as concerned with the air surrounding his subject as with the subject itself. It is through observation and perception of atmosphere that he can register the feeling that he wishes his painting to give out.

The character of the artist doesn't enter into the nature of the art. Eliot said that art is the escape from personality, which I think is right. We know that Velázquez embezzled money from the Spanish court and wanted power and so on, but you can't see this in his art.

The longer you look at an object, the more abstract it becomes, and, ironically, the more real.

The model should only serve the very private function for the painter of providing the starting point for his excitement

The only secret I can claim to have is concentration, and that's something that can't be taught.

The only way I could work properly was by using the absolute maximum of observation and concentration that I could possible muster.

The painter makes real to others his innermost feelings about all that he cares for. A secret becomes known to everyone who views the picture through the intensity with which it is felt.

The painter must give a completely free rein to any feeling or sensations he may have and reject nothing to which he is naturally drawn.

The painter's obsession with his subject is all that he needs to drive him to work.

The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.

The paintings live because their creator has been passionately attentive to their theme, and his attention has left something for us to look at. It seems a sort of miracle.

The paintings that really excite me have an erotic element or side to them irrespective of subject matter

The task of the artist is to make the human being uncomfortable.

Were it not for this [dissatisfaction], the perfect painting might be painted, on the completion of which the painter could retire. It is this great insufficiency that drives him on. The process of creation becomes necessary to the painter perhaps more than it is in the picture. The process is in fact habit-forming.

What do I ask of a painting? I ask it to astonish, disturb, seduce, convince.

When I look at a body it gives me choice of what to put in a painting, what will suit me and what won't

When I look at a body it gives me choice of what to put in a painting, what will suit me and what won't. There is a distinction between fact and truth. Truth has an element of revelation about it. If something is true, it does more than strike one as merely being so.