Comps, Storyboards, and Animatics

Book Description

Freud at Work is a rare glimpse into the life of one of the most celebrated—and most private—artists working today. Though in his eighties, this great figurative artist continues to paint with undiminished energy and discipline.

In 120 revealing black-and-white and color photographs taken in Lucian Freud’s London studio, and in a fascinating in-depth interview, we come to understand the stages of the artist’s work and the intensity of his interaction with his subjects—whether fellow artist David Hockney, the Queen of England, or performance artist Leigh Bowery, among others.

Two remarkable photographers have been recording Freud at work over the past twenty years . The artist, uncharacteristically, allowed Bruce Bernard, the acclaimed picture editor, to photograph him in the studio, especially during the years he was working with Bowery as his model. Following Bernard’s death in 2000, David Dawson, the painter’s assistant, began photographing the daily life of the studio, showing us the progress of Freud’s paintings, his models—some naked, some famous—and the painter himself caught in moments of intense concentration.

Though Freud has always been reluctant to give interviews, talk about the painters he admires, or discuss how he works, his conversation here with the Australian writer Sebastian Smee is frank and revealing.

Unlike any other book we have seen about Freud—comparable to David Douglas Duncan’s books of photographs of Picasso—this important document invites us for the first time into the secret domain of the artist.

Customer Reviews:

Lucian Freud in conversation with models, canvas and paint.......2007-05-09

magnificent view on the painter as painter.

A Window into the Privacy of the Creative Mind of Lucian Freud.......2007-04-27

Lucian Freud seems to gain in importance as a painter and as provocateur with every exhibition (or even frequent monograph) that appears - an d for good reason. Freud continues the tradition of figure painting, but clearly in his own language. His canvases are dense with detail of both body surface and psychic message. His tendency to find rather physically grotesque models (such as Leigh Bowery) and then paint canvas after canvas of those models, each work revealing even more bizarre statements about the sitter, has made him one of the most interesting painters of our day - and the gentleman is in his eighties!

Infamously reclusive, Freud paints everyday, producing huge canvases and diptychs/triptychs with what appears to be the greatest of ease. But this very fine book allows us to see the artist's struggle with the creative muse by admitting us into the studio, courtesy of interviewers David Dawson and Sebastian Smee and photographers Dawson and Bruce Bernard, a friend and admirer now gone who captured some of the more sophisticated views of the artist at easel and photographic images of the models along side the painted version from Freud's hands, imagination and talent.

Even for those who have collected museum catalogs and other monographs of the work of Lucian Freud these richly reproduced color photographs of Freud's paintings, given the new vantage of moving from the museum wall into the studio of origination with the additional images of the painter at work, constitute a superior art monograph of a current genius. The book is a conversation with a living genius, a painter who is far more interested in the paint and brush than he is with the observer - until now. Highly recommended for art collectors, educators, art students, and for those who remain fascinated with the human figure. Grady Harp, April 07

If you like Freud's work, you'll love this.......2007-01-27

If the so-called School of London is your thing, here is a unique opportunity to watch the grand master at work. Not as good as a video, as possible with Auerbach and Bacon, but you take what you can get with the famously reclusive Freud, who clearly relishes enhancing his own reputation for eccentricity. (Remember the Snowdon photo of a wild-eyed Freud in his youth standing in front of his vintage Rolls Royce while wearing work clothes, like a scene right out of the 'sixties film Blow Up?)

Here we see the work of two photographers, both old friends, who were allowed to capture Freud at work over more than 20 years, as he painted single- and multiple-subject portraits of widely varying sizes, with subjects ranging from The Queen to Leigh Bowery. Most interestingly, this format allows us to see a large number of his paintings at various stages of completion, thus showing his process in a reasonable amount of detail.

Start with a sketch by Cezanne and adapt it to two models, then add a third, to make a contemporary painting. An earlier work starts with a nude model perched somewhat precariously in the cubbyhole high up on the wall. Her portrait on the easel below reveals just how brutal Freud can be in portraying the figure. When we saw the painting at Acquavella Gallery, we wondered if he actually had the model positioned in a nook in the wall. Now we know.

We see how the oil portraits of subjects such as Lord Fellowes and David Hockney start with oil sketches and go through development to the finished painting. The talented young British artist Tai-Shan Schierenberg, whose portraits of John Mortimer and Lords Sainsbury and Carrington are already in the Tate and the National Portrait Gallery, is one of several artists who paint in a style very similar to Freud's, but close-ups of Freud's smaller portraits show the particuarly intensive reworking which make his work unique. He lays on paint heavily like Auerbach or Kossoff but with his own style, which, in the end, is inimitable.

Brigadier Andrew Parker Bowles in full dress uniform makes a glamorous subject. We also see Freud painting a horse and his dog Pluto, and his latest young female admirer. We also see Freud developing the plates for his masterful etchings, some of the best work being done in that medium today.

A 30-page interview by David Dawson and Sebastian Smee is interspersed with the late Bruce Bernard's color photographs and David Dawson provides over 100 additional color photographs of the painter at work. It seems that there is a new monograph on Freud every eighteen months or so; this is one of the few works which focuses on his process.

Absolutely Essential.......2006-12-07

If you are an admirer of Lucian Freud's work, this book should definitely have place in your library. It essentially comprises of 3 parts, opening with a very frank and insightful interview with Freud by Sebastian Smee. Followed by two collections of colour and b&w photographs by Bruce Bernard and David Dawson. They cover all aspects of Freud in the studio - photos of Freud larking around as a Henry Moore sculpture, works in progress (often including the model), finished paintings, his studio, his dogs, horses, foxcub, etching plates and resulting prints, series of WIP paintings showing the stages involved in their creation. Over 120 photos in all, with the vast majority being in colour. Lavishly illustrated.

Smee, Bernard, and Dawson all had/have a close association with Freud and for me that's what makes this book so special. Throughout, Freud is just going about his business which is captured wonderfully by the photos. Bernard wanted to take carefully considered photos but Freud was having none of that, to the point of literally doing headstands. Bernard died in 2000, around the time that Freud was working on his Cezanne piece. Dawson picks up the plot from there, with photo's through to 2006.

For anyone interested in Freud's painting process, either out of curiosity or as an artist, the photo's provide a wealth of information. The adage "A picture is worth a 1000 words" could not be more apt. The Work in Progress photos range from the raw drawing on canvas through to finished pieces. A number of WIP photos also include the model, allowing for comparison between the flesh and the oil. Etching plates and the resulting prints are also shown.

Smee's interview reads like a couple of guys chatting over a pint down the pub. Over his career (and long may it continue!) Freud has met and hung out with numerous famous figures - Picasso, Giacometti, Bacon, Hirst, Auerbach, Bergmann, Balthus, Bowery, Queen Elizabeth II, even gambling with the notorious Kray Twins (1950/60 gangsters from London's east end). The interview is liberally populated with wonderful anecdotes. Freud also talks about the painters through history that he admires - Cezanne, Matisse, Corot, Chardin, Toulouse-Latrec and why. He touches upon living in London and anti-semitism, what led him to paint pictures of his mother, his grandfather Sigmund Freud, being sat at the bar and finding out that someone else was impersonating him - was he upset? Not really, he ended up painting the man's portrait.

For someone who is reknowned for his privacy this book is exceptional. I'm sure Freud had a huge say in how the book would look and its contents. His pride in a job well done is most evident.

If Freud is on your artistic radar, even as the merest blip, then do yourself a favour and own this book. Essential. 10 stars!

Conversations With Contemporary Photographers

Average customer rating:

Engaging and recommended reading

Conversations With Contemporary Photographers
Joan Fontcuberta , Graciela Iturbide , Max Pam , Duane Michals , Miguel Rio Branco , Philip-Lorca Dicorcia , Alex Webb , Bernard Plossu , and Javier Vallhonrat
Manufacturer: Umbrage Editions
ProductGroup: Book
Binding: Paperback

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ASIN: 1884167489

Book Description

Conversations is a landmark series in photography, featuring extensive, in-depth interviews on aesthetics, craft, and culture with living masters and major international critics from Australia, France, Italy, Germany, Mexico, Brazil, Spain, the United States, the United Kingdom, and other countries, including new interviews commissioned especially for this collection.

The book traces the heritage of the medium in a fascinating dozen informal discourses and topics ranging from the personal to the political, covering intimate detail and theoretical background alike. Complete with biographies, bibliographies, and self-portraits of each featured artist, it is both a vital record of the best in contemporary photography and an engaging read.

Artists and interviewers include:

Max Pam (Australia) by Pablo Ortiz Monasterio (Mexico)
Bernard Plossu (France) with Juan Manuel Bonet (France)
Miguel Rio Branco (Brazil) with Tereza Siza (Portugal)
William Klein (United States) with Eric Daviron (France)
Alex Webb (United States) with Max Kozloff (United States)
Joan Fontcuberta (Spain) with Cristina Zeklich (Austria)
Graciela Iturbide (Mexico) with Fabienne Bradu (France)
Javier Vallhonrat (Spain) with Santiago Olmo (Spain)
Philip Lorca di Corcia (United States) with Nan Richardson (United States)
Duane Michals (United States) with Enrica Vigano (Italy)
Thomas Struth (Germany) and more

Customer Reviews:

Engaging and recommended reading.......2006-11-05

"Conversations With Contemporary Photographers" is a compilation of nine simply fascinating conversations on and about photography in terms of its effect on aesthetics, culture, history, theory, and so much more. "Conversations With Contemporary Photographers" features conversations between American photographers Alex Webb and Max Kozloff; and between Phillip Lorca di Corcia and Nan Richardson; Spanish photographers Javier Vallhonrat and Santiago Olma; Brazil's Miguel Rio Branco and Portugal's Tereza Siza; America's Duane Michals and Italy's Enrica Vigano; Australia's Max Pam and Mexico's Pablo Ortiz Monasterio; French photographers Bernard Plassu and Juan Manual Bonet; Spain's John Foncuberta and Austria's Cristina Zeklich. A core addition for personal, professional, and academic library Photography reference collections and supplemental reading lists, "Conversations With Contemporary Photographers" is a unique anthology of expert and insightful commentary - as well as deeply engaging and recommended reading for all photography enthusiasts, amateur or professional.

Life into Art: Conversations With Seven Contemporary Biographers

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Life into Art: Conversations With Seven Contemporary Biographers
Gail Porter Mandell
Manufacturer: University of Arkansas Press
ProductGroup: Book
Binding: Hardcover
ASIN: 1557281807

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Great

There is a reason they put these three together

Great stories, well executed

Herge the Elder

A rich part of this bilingual Canadian's heritage

The Adventures of Tintin: The Castafiore Emerald, Flight 714, Tintin and the Picaros (3 Complete Adventures in 1 Volume, Vol. 7)
Herge
Manufacturer: Little, Brown Young Readers
ProductGroup: Book
Binding: Hardcover

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The Adventures of Tintin: The Calculus Affair / The Red Sea Sharks / Tintin in Tibet (3 Complete Adventures in 1 Volume, Vol. 6)

Adventures of Tintin: Land of Black Gold / Destination Moon / Explorers on the Moon (3 Complete Adventures in 1 Volume, Vol. 5)

The Adventures of Tintin - Red Rackham's Treasure / The Seven Crystal Balls / Prisoners of the Sun (3 Complete Adventures in 1 Volume, Vol. 4)

The Adventures of Tintin: The Crab With the Golden Claws / The Shooting Star / The Secret of the Unicorn (3 Complete Adventures in 1 Volume, Vol. 3)

The Adventures of Tintin: The Broken Ear / The Black Island / King Ottokar's Sceptre (3 Complete Adventures in 1 Volume, Vol. 2)

ASIN: 0316357278

Customer Reviews:

Great.......2007-09-09

What amazed me was the delivery. It came 3 days after I ordered it online. Is it a great product? If you're a tintin fan and don't have all the collections, this is a good one. I bought the all 7 volumes at once. My childhood memories live on.

There is a reason they put these three together.......2007-05-15

It's funny how you can see Herge's style changes over time and yet stays the same. The Picaros is a long way from The Blue Lotus. While there three are not my favorites, they round out the TinTin collection. My [...] has enjoyed Flight 714 more than the other two. I give this 3 stars because his later work just seems like a weaker outing than his earlier work...Red Rackham's Treasure...Destination Moon.

Great stories, well executed.......2007-01-14

I grew up with Tintin books, and my kids are now at an age where they are beyond "See Spot Run" but don't always have the patience for a full-length book. The stories are always great, and the research is meticulous. Most of the story subjects were highly topical at the time, and reading the books regularly provide history refresher.

"The Castafiore Emerald", though it is probably the least "adventurous" of the Tintin books, in my view has the most complex story structure, with a number of plots weaving into each other. A timeless classic.

Herge is no stranger to the esoteric story, but "Flight 714" is clearly the most extreme in this respect. Still, a good story, and an opportunity to deal with a perennial nemesis.

"Tintin and the Picaros" again revisits old territory and old friends like General Alcazar and his Latin American banana republic. This book prompted a long discussion on guerillas and insurgencies with my 8-year-old.

Herge the Elder.......2006-12-18

Volume 7 of the "three in one" Tintin books has the last three completed adventures "The Castafiore Emerald" (1963), "Flight 714" (1968) and "Tintin and the Picaros" (1976). Herge was in his late fifties and sixties when he wrote them, and at times they do have that elder perspective about them. For instance, the elder Captain Haddock's thoughts and feelings seem to be the focus of these stories, while Tintin is more of a side character, investigating. As a kid, I liked "Flight 714", but I didn't find the other two as interesting. They're not like the older stories, but they are fine adventures in their own way.

"The Castafiore Emerald" is completely set on the grounds of Captain Haddock's Marlinspike Hall, and sees the poor Captain swamped by stress and frustrations as the opera singer Bianca Castafiore comes to stay...

"Flight 714" starts off like a standard Tintin action-adventure comic, but then goes all strange in the middle when criminals hijack Tintin's plane and takes him and his friends to a mysterious island...

"Tintin and the Picaros" is like a sequel of sorts to 1937's "The Broken Ear", and sees much of Tintin's investigative past catch up with him in the war torn South American country of "San Theodoros"...

Not the first ones to read for a newcomer (being the last three) but they're worth picking up, and these three in ones are sturdy, a convenient size and great value.

A rich part of this bilingual Canadian's heritage.......2006-09-09

Volume 7: The Castafiore Emerald (1963), Flight 714 for Sydney (1968), Tintin and the Picaros (1976). This is the last instalment of my reviews of each of the seven volumes.

"Hergé influenced my work as much as Disney," said Andy Warhol. Tintin, hardly known in the USA, nevertheless makes his influence felt here, with Spielberg (in one episode, Haddock risks his life for his captain's cap) and Lichtenstein among his admirers. Among the reasons Tintin is not well-known in the USA is that certain minority sensibilities risk being offended. Some will argue that it's because Tintin is too sexless, though I doubt that's it. Tintin's somewhat bland, unassuming sense of duty propels him and the stories, while the cast of supporting characters give the series its wonderful colour, liveliness and effervescence. It is, thankfully, not a superhero comic, these reserving their appeal to male adolescents and collectors, and not graduating into durable art until efforts such as Alan Moore's superlative Watchmen burst onto the scene in 1986-87. It is also not a comic strip like the great Peanuts or Calvin and Hobbes: it is an adventure series. We would have to revisit Terry and the Pirates for something comparable, but even so, Tintin has acceded to the summit of its art form, its worldwide appeal unabated, while Terry and the Pirates and the other great adventure strips this side of the pond are all but forgotten.

Volume 7 begins with The Castafiore Emerald, where the artwork is almost psychotically draftsman-like, some would say even antiseptically so. But for me, it's the quintessence of Hergé's clean line style and the panels are glowingly beautiful. The wheelchair crash into the doctor's car is a great slapstick panel. There are a couple of departures from the Tintin adventure mode, the more obvious being that it is all set at the home base, Marlinspike. The other departure, a tour de force, is left to the reader who, if s/he doesn't get it then s/he doesn't get the story. Bianca Castafiore's domineering personality is shown in all its glory, with paparazzi infestations, colour television developments, gypsy settlements, prejudice, tabloids, roses, birds and of course, the Emerald.

Flight 714 for Sydney is a departure from the quintessentially clean line style and the artwork is a little more cluttered, but again, for me it works, for example by giving more detail to Haddock's rich store of expressions. The book came out the same year as Von Daniken's Chariots of Fire, but the story came out in serial form a couple of years earlier. Again, I don't want to give away the story, but we are treated to another great adventure involving Calculus' savate kick, a superbly detailed aircraft, a memorable scene blurring the lines between the good and the bad, a Pacific island, ancient sculptures, and what it all means - by the end of the story, you know and I know, but it remains a secret in Tintin's world.

The final complete volume (Hergé died before completing its successor, Tintin and Alph-Art, which is available in its uncompleted form) is Tintin and the Picaros, which brings us back to the Amazon, with Alcazar, the Arumbaya, and the clean line which has, however, thickened a tad too much for my tastes. In my opinion a weaker effort than the previous five, a bit of a let down. There is a sense that Hergé felt that this might be his final album and gave the Thom(p)sons a little too much dignity, maybe to make amends for the countless indignities they suffered in the past. Some panels and dialogue are stilted and the story isn't as tight and fluid as in its predecessors. There are still some ironies, such as the first and last panels. And we get to learn Haddock's first name.

The Castafiore Emerald (The Adventures of Tintin)

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Its not the fast pace action- Is the plot what makes it unique
Fantastic.
Somewhat overrated album, but still worthwhile reading
Mature Age Tintin
"They say I'm divine..."

The Castafiore Emerald (The Adventures of Tintin)
Herge
Manufacturer: Little, Brown Young Readers
ProductGroup: Book
Binding: Paperback

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ASIN: 0316358428

Customer Reviews:

Its not the fast pace action- Is the plot what makes it unique.......2007-05-18

My son cought the Tintin mania some 4 years ago, where we read all the books and had a good luagh on them, still the one that remains in our mind and its part of the everyday complicity in expressions and gesture we make, comes from the Castafiori Emerald.

I agree with the other reviewers as to the what they say about this beng a non-action book, compared to others that are fast paced and entertaining with the novelty of the exotic places where the adventures takes place. In here we are permitted to be intimate guest at Cap. Haddock's castle and watch, in sheer amusement, as to how a series of devilish misfortunes fall upon the poor captain so as to see him display- lo and behold- all the irascibility he is well known for in all other books.

Fantastic........2007-05-12

Herge, The Castafiore Emerald (Methuen, 1963)

According to Tintinophile, The Castafiore Emerald was an attempt by Herge to see if "he could maintain suspense throughout sixty-two pages in which nothing happens." He succeeds quite wonderfully.

The plot is monstrously complex, and cannot be summarized without spoilers, but involves a broken step, Bianca Castafiore, a band of gypsies, the press, a parrot, and of course the Castafiore emerald itself. For a book in which nothing much happens, an awful lot seems to, and that's the fun of it. ****

Somewhat overrated album, but still worthwhile reading.......2007-02-07

When the Castafiore Emerald came out in the early 60s, reportedly some critics went berserk, pronouncing it the birth of a new art form. Actually, this album is not even among Tintin's best. It is sort of an anti-adventure, since almost all the action happens in Marlinspike (or Moulinsart, in the original). Bianca Castafiore has arrived in Marlinspike uninvited for a vacation, at a time Haddock has a leg in a cast, and a number of things happen during her stay. Things that appear to be serious or ominous, would later turn out to have a simpler explanation (the robbery of the jewels, the mysterious men during the TV interview). The running joke here is that Castafiore is totally unaware of how much she is hated by Haddock. I think Herge wanted to prove here that he would be able to pull off a Tintin album without having the characters go through extraordinary situations. The whole thing is more like a sitcom than an adventure. I don't think this is among Tintin's best albums, but if you are a Tintin fan, I guess the book is still worthwhile reading.

Mature Age Tintin.......2006-12-17

"The Castafiore Emerald" was Herge's 1963 adventure, set completely in Captain Haddock's Marlinspike Hall. It was probably one of my least favorite as a kid because not much happened in it and not many locations were used, but now I realize that that was the whole point, and can appreciate it that way.

Captain Haddock is enjoying life on his Marlinspike Hall estate. He loves to walk through the grounds with his friend Tintin. The gypsies, who have been forced to live in a rubbish dump, aren't having such a great time, so the Captain invites them to camp on his estate. It's no trouble, and there's room for everyone. Or so he thinks. Trouble comes when opera singer Bianca Castafiore (first seen in "King Ottokar's Sceptre") comes and pays the Captain a visit. Captain Haddock sprains his ankle on a broken step, and is confined to a wheelchair. People keep calling up the house, thinking it's the butchers. Journalists swarm in, hungry for gossip and scandal. Ms Castafiore sings loudly and smothers the Captain, asking him to dress properly and comb his hair. Mr Wagg adds to the tension, coming to discuss insurance. A television crew come in, the gossip gets worse and finally the Castafiore Emerald, Bianca's prized possession is stolen. Tintin decides to try and find the culprit. The detectives Thomson and Thompson think it's the gypsies, but it could have been one of the freelance journalists. Mr Wagner, Bianca's pianist, has been acting strangely too. Will all things work out right?

By the plot, I can see why I didn't like it so much as a kid, it's a bit more mature age than usual. Its actually quite interesting when you consider Herge's life at the time. He'd just been divorced, and apparently the overwhelming Bianca Castafiore is based a little on his ex-wife. He was also a little frustrated with the Tintin adventures, and the characters all end up frustrated at each other, particularly the Captain, who really just wants a bit of peace and quiet. The politics are all domestic in this adventure, unlike hte others. It's the thoughts of a well-to-do middle aged, European man in the 1960s. I can imagine Herge strolling through fields like Captain Haddock, thinking this up, venting his frustrations with everything.

On that level, it's very interesting, and well worth reading for Tintin fans. An interesting study of the Tintin characters. The next one, 1968's "Flight 714", would study the nature of some of the Tintin villains, but that's another kettle of fish...

"They say I'm divine...".......2003-07-07

Later in his career Herg set himself of writing what amounts to a kind of anti-Tintin adventure, where nothing really happens to his cast of characters (there are no opium smuggling rings to smash nor any political coups to thwart), and yet everything happens all the same. THE CASTAFIORE EMERALD may in many ways be Herg's masterpiece, and it is unquestionably the funniest of all his tales, revolving as it does on the theme of miscommunication ("No, this is not Cutts the butcher!"). Naturally at the very heart of it is the Milanese Nightingale herself, Bianca Castafiore, the world's greatest opera star, who deigns to descend upon the only two people in the world who cannot bear to hear her sing, Tintin and Captain Hamhock (er, Haddock). In addition to La Castafiore comes her entourage (her accompaniest Wagner and her maid Irma), a gaggle of photographers, a suspicious band of gypsies, a television crew, and even a local brass band. Before the tale is done Dr. Calculus will experiment with roses and color television, Tintin will have a mystery or two to unravel, Captain Fatstock (er, Haddock) will explode with fury an untold number of times, and the divine Castafiore will be asked (as always) to sing, to Tintin and Captain Haddock's horror, her signature aria from "Faust." "Yes, it was the 'Jewel Song' from 'Faust' that swept me to the pinnacle of fame," the opera star modestly informs her television interviewer, "They say I'm divine..." And she is.

Adventures of Tintin: Die Juwelen der Sangerin (German Edition of the Castafiore Emerald)

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Adventures of Tintin: Die Juwelen der Sangerin (German Edition of the Castafiore Emerald)
Herge
Manufacturer: French & European Pubns
ProductGroup: Book
Binding: Paperback

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The Castafiore Emerald (The Adventures of Tintin)
Herge
Manufacturer: Mammoth
ProductGroup: Book
Binding: Paperback

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ASIN: 1405206322

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