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George Bellows, Dempsey and Firpo (1924) / Dempsey through the ropes: via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.] George Bellows, Dempsey and Firpo (1924) / Dempsey through the ropes: via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.]

    George Bellows, Dempsey and Firpo (1924) / Dempsey through the ropes:

    via Self Hating Hipster:

    The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus).

    At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round!

    [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.]

    George Bellows exhibit @ Royal Academy of Arts, London, 28 March 2013 I was knocked out by George Bellows’s “Stag at Sharkey’s” when I came across that painting on the web a few months ago (ref to my original blog post => HERE), so I it was rather exciting to be given the chance to see it “in the flesh” @ the Royal Academy. And I wasn’t disappointed: all of his boxing fights paintings and lithographs on display are mesmerising — I love Bellows’s gritty realism… I’m less keen when he tries to rub brush strokes with the New York upper class (a couple of of rooms in the exhibition made me cringe).  Self Hating Hipster: Bellows rubbed elbows with artists like John Sloan, Everett Shinn, George Luks and Reginald Marsh; this group of artists were referred to collectively as the Ashcan Painters because of the crude, unbridled depiction of urbanity in both its glory and filth. Instead of a lush, pastoral landscape or an impressionistic portrait of a woman with a parasol, these artists were painting hold-ups, kids bathing in the Hudson, burlesque shows, train tracks, dive bars, circuses, Coney Island…and boxing matches. George Bellows on boxing: I am not interested in the morality of prize fighting but let me say that the atmosphere around the fighters is a lot more immoral than the fighters themselves. […] I don’t know anything about boxing. I am just painting two men trying to kill each other. Interesting bits about a few of the boxing paintings: Dempsey and Firpo (1924): via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.] The White Hope (1921): This litho recalls an event of 11 years earlier: the heavyweight title fight held in Reno, Nevada, on 4 jul 1910, in which the legendary African champion Jack Johnson decisevely defeated the former champion Jim Jeffries. Before the fight, promoters exploited racist attitudes by touting Jeffries as “the great white hope”.  Preliminaries (to the big out) (1916): Boxing had been made legal by 1916 but this Madison Square Garden fight is the first ever attended by women.  George Bellows exhibit @ Royal Academy of Arts, London, 28 March 2013 I was knocked out by George Bellows’s “Stag at Sharkey’s” when I came across that painting on the web a few months ago (ref to my original blog post => HERE), so I it was rather exciting to be given the chance to see it “in the flesh” @ the Royal Academy. And I wasn’t disappointed: all of his boxing fights paintings and lithographs on display are mesmerising — I love Bellows’s gritty realism… I’m less keen when he tries to rub brush strokes with the New York upper class (a couple of of rooms in the exhibition made me cringe).  Self Hating Hipster: Bellows rubbed elbows with artists like John Sloan, Everett Shinn, George Luks and Reginald Marsh; this group of artists were referred to collectively as the Ashcan Painters because of the crude, unbridled depiction of urbanity in both its glory and filth. Instead of a lush, pastoral landscape or an impressionistic portrait of a woman with a parasol, these artists were painting hold-ups, kids bathing in the Hudson, burlesque shows, train tracks, dive bars, circuses, Coney Island…and boxing matches. George Bellows on boxing: I am not interested in the morality of prize fighting but let me say that the atmosphere around the fighters is a lot more immoral than the fighters themselves. […] I don’t know anything about boxing. I am just painting two men trying to kill each other. Interesting bits about a few of the boxing paintings: Dempsey and Firpo (1924): via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.] The White Hope (1921): This litho recalls an event of 11 years earlier: the heavyweight title fight held in Reno, Nevada, on 4 jul 1910, in which the legendary African champion Jack Johnson decisevely defeated the former champion Jim Jeffries. Before the fight, promoters exploited racist attitudes by touting Jeffries as “the great white hope”.  Preliminaries (to the big out) (1916): Boxing had been made legal by 1916 but this Madison Square Garden fight is the first ever attended by women.  George Bellows exhibit @ Royal Academy of Arts, London, 28 March 2013 I was knocked out by George Bellows’s “Stag at Sharkey’s” when I came across that painting on the web a few months ago (ref to my original blog post => HERE), so I it was rather exciting to be given the chance to see it “in the flesh” @ the Royal Academy. And I wasn’t disappointed: all of his boxing fights paintings and lithographs on display are mesmerising — I love Bellows’s gritty realism… I’m less keen when he tries to rub brush strokes with the New York upper class (a couple of of rooms in the exhibition made me cringe).  Self Hating Hipster: Bellows rubbed elbows with artists like John Sloan, Everett Shinn, George Luks and Reginald Marsh; this group of artists were referred to collectively as the Ashcan Painters because of the crude, unbridled depiction of urbanity in both its glory and filth. Instead of a lush, pastoral landscape or an impressionistic portrait of a woman with a parasol, these artists were painting hold-ups, kids bathing in the Hudson, burlesque shows, train tracks, dive bars, circuses, Coney Island…and boxing matches. George Bellows on boxing: I am not interested in the morality of prize fighting but let me say that the atmosphere around the fighters is a lot more immoral than the fighters themselves. […] I don’t know anything about boxing. I am just painting two men trying to kill each other. Interesting bits about a few of the boxing paintings: Dempsey and Firpo (1924): via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.] The White Hope (1921): This litho recalls an event of 11 years earlier: the heavyweight title fight held in Reno, Nevada, on 4 jul 1910, in which the legendary African champion Jack Johnson decisevely defeated the former champion Jim Jeffries. Before the fight, promoters exploited racist attitudes by touting Jeffries as “the great white hope”.  Preliminaries (to the big out) (1916): Boxing had been made legal by 1916 but this Madison Square Garden fight is the first ever attended by women.  George Bellows exhibit @ Royal Academy of Arts, London, 28 March 2013 I was knocked out by George Bellows’s “Stag at Sharkey’s” when I came across that painting on the web a few months ago (ref to my original blog post => HERE), so I it was rather exciting to be given the chance to see it “in the flesh” @ the Royal Academy. And I wasn’t disappointed: all of his boxing fights paintings and lithographs on display are mesmerising — I love Bellows’s gritty realism… I’m less keen when he tries to rub brush strokes with the New York upper class (a couple of of rooms in the exhibition made me cringe).  Self Hating Hipster: Bellows rubbed elbows with artists like John Sloan, Everett Shinn, George Luks and Reginald Marsh; this group of artists were referred to collectively as the Ashcan Painters because of the crude, unbridled depiction of urbanity in both its glory and filth. Instead of a lush, pastoral landscape or an impressionistic portrait of a woman with a parasol, these artists were painting hold-ups, kids bathing in the Hudson, burlesque shows, train tracks, dive bars, circuses, Coney Island…and boxing matches. George Bellows on boxing: I am not interested in the morality of prize fighting but let me say that the atmosphere around the fighters is a lot more immoral than the fighters themselves. […] I don’t know anything about boxing. I am just painting two men trying to kill each other. Interesting bits about a few of the boxing paintings: Dempsey and Firpo (1924): via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.] The White Hope (1921): This litho recalls an event of 11 years earlier: the heavyweight title fight held in Reno, Nevada, on 4 jul 1910, in which the legendary African champion Jack Johnson decisevely defeated the former champion Jim Jeffries. Before the fight, promoters exploited racist attitudes by touting Jeffries as “the great white hope”.  Preliminaries (to the big out) (1916): Boxing had been made legal by 1916 but this Madison Square Garden fight is the first ever attended by women.  George Bellows exhibit @ Royal Academy of Arts, London, 28 March 2013 I was knocked out by George Bellows’s “Stag at Sharkey’s” when I came across that painting on the web a few months ago (ref to my original blog post => HERE), so I it was rather exciting to be given the chance to see it “in the flesh” @ the Royal Academy. And I wasn’t disappointed: all of his boxing fights paintings and lithographs on display are mesmerising — I love Bellows’s gritty realism… I’m less keen when he tries to rub brush strokes with the New York upper class (a couple of of rooms in the exhibition made me cringe).  Self Hating Hipster: Bellows rubbed elbows with artists like John Sloan, Everett Shinn, George Luks and Reginald Marsh; this group of artists were referred to collectively as the Ashcan Painters because of the crude, unbridled depiction of urbanity in both its glory and filth. Instead of a lush, pastoral landscape or an impressionistic portrait of a woman with a parasol, these artists were painting hold-ups, kids bathing in the Hudson, burlesque shows, train tracks, dive bars, circuses, Coney Island…and boxing matches. George Bellows on boxing: I am not interested in the morality of prize fighting but let me say that the atmosphere around the fighters is a lot more immoral than the fighters themselves. […] I don’t know anything about boxing. I am just painting two men trying to kill each other. Interesting bits about a few of the boxing paintings: Dempsey and Firpo (1924): via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.] The White Hope (1921): This litho recalls an event of 11 years earlier: the heavyweight title fight held in Reno, Nevada, on 4 jul 1910, in which the legendary African champion Jack Johnson decisevely defeated the former champion Jim Jeffries. Before the fight, promoters exploited racist attitudes by touting Jeffries as “the great white hope”.  Preliminaries (to the big out) (1916): Boxing had been made legal by 1916 but this Madison Square Garden fight is the first ever attended by women.  George Bellows exhibit @ Royal Academy of Arts, London, 28 March 2013 I was knocked out by George Bellows’s “Stag at Sharkey’s” when I came across that painting on the web a few months ago (ref to my original blog post => HERE), so I it was rather exciting to be given the chance to see it “in the flesh” @ the Royal Academy. And I wasn’t disappointed: all of his boxing fights paintings and lithographs on display are mesmerising — I love Bellows’s gritty realism… I’m less keen when he tries to rub brush strokes with the New York upper class (a couple of of rooms in the exhibition made me cringe).  Self Hating Hipster: Bellows rubbed elbows with artists like John Sloan, Everett Shinn, George Luks and Reginald Marsh; this group of artists were referred to collectively as the Ashcan Painters because of the crude, unbridled depiction of urbanity in both its glory and filth. Instead of a lush, pastoral landscape or an impressionistic portrait of a woman with a parasol, these artists were painting hold-ups, kids bathing in the Hudson, burlesque shows, train tracks, dive bars, circuses, Coney Island…and boxing matches. George Bellows on boxing: I am not interested in the morality of prize fighting but let me say that the atmosphere around the fighters is a lot more immoral than the fighters themselves. […] I don’t know anything about boxing. I am just painting two men trying to kill each other. Interesting bits about a few of the boxing paintings: Dempsey and Firpo (1924): via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.] The White Hope (1921): This litho recalls an event of 11 years earlier: the heavyweight title fight held in Reno, Nevada, on 4 jul 1910, in which the legendary African champion Jack Johnson decisevely defeated the former champion Jim Jeffries. Before the fight, promoters exploited racist attitudes by touting Jeffries as “the great white hope”.  Preliminaries (to the big out) (1916): Boxing had been made legal by 1916 but this Madison Square Garden fight is the first ever attended by women.  George Bellows exhibit @ Royal Academy of Arts, London, 28 March 2013 I was knocked out by George Bellows’s “Stag at Sharkey’s” when I came across that painting on the web a few months ago (ref to my original blog post => HERE), so I it was rather exciting to be given the chance to see it “in the flesh” @ the Royal Academy. And I wasn’t disappointed: all of his boxing fights paintings and lithographs on display are mesmerising — I love Bellows’s gritty realism… I’m less keen when he tries to rub brush strokes with the New York upper class (a couple of of rooms in the exhibition made me cringe).  Self Hating Hipster: Bellows rubbed elbows with artists like John Sloan, Everett Shinn, George Luks and Reginald Marsh; this group of artists were referred to collectively as the Ashcan Painters because of the crude, unbridled depiction of urbanity in both its glory and filth. Instead of a lush, pastoral landscape or an impressionistic portrait of a woman with a parasol, these artists were painting hold-ups, kids bathing in the Hudson, burlesque shows, train tracks, dive bars, circuses, Coney Island…and boxing matches. George Bellows on boxing: I am not interested in the morality of prize fighting but let me say that the atmosphere around the fighters is a lot more immoral than the fighters themselves. […] I don’t know anything about boxing. I am just painting two men trying to kill each other. Interesting bits about a few of the boxing paintings: Dempsey and Firpo (1924): via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.] The White Hope (1921): This litho recalls an event of 11 years earlier: the heavyweight title fight held in Reno, Nevada, on 4 jul 1910, in which the legendary African champion Jack Johnson decisevely defeated the former champion Jim Jeffries. Before the fight, promoters exploited racist attitudes by touting Jeffries as “the great white hope”.  Preliminaries (to the big out) (1916): Boxing had been made legal by 1916 but this Madison Square Garden fight is the first ever attended by women.  George Bellows exhibit @ Royal Academy of Arts, London, 28 March 2013 I was knocked out by George Bellows’s “Stag at Sharkey’s” when I came across that painting on the web a few months ago (ref to my original blog post => HERE), so I it was rather exciting to be given the chance to see it “in the flesh” @ the Royal Academy. And I wasn’t disappointed: all of his boxing fights paintings and lithographs on display are mesmerising — I love Bellows’s gritty realism… I’m less keen when he tries to rub brush strokes with the New York upper class (a couple of of rooms in the exhibition made me cringe).  Self Hating Hipster: Bellows rubbed elbows with artists like John Sloan, Everett Shinn, George Luks and Reginald Marsh; this group of artists were referred to collectively as the Ashcan Painters because of the crude, unbridled depiction of urbanity in both its glory and filth. Instead of a lush, pastoral landscape or an impressionistic portrait of a woman with a parasol, these artists were painting hold-ups, kids bathing in the Hudson, burlesque shows, train tracks, dive bars, circuses, Coney Island…and boxing matches. George Bellows on boxing: I am not interested in the morality of prize fighting but let me say that the atmosphere around the fighters is a lot more immoral than the fighters themselves. […] I don’t know anything about boxing. I am just painting two men trying to kill each other. Interesting bits about a few of the boxing paintings: Dempsey and Firpo (1924): via Self Hating Hipster: The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus). At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round! [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.] The White Hope (1921): This litho recalls an event of 11 years earlier: the heavyweight title fight held in Reno, Nevada, on 4 jul 1910, in which the legendary African champion Jack Johnson decisevely defeated the former champion Jim Jeffries. Before the fight, promoters exploited racist attitudes by touting Jeffries as “the great white hope”.  Preliminaries (to the big out) (1916): Boxing had been made legal by 1916 but this Madison Square Garden fight is the first ever attended by women. 

      George Bellows exhibit @ Royal Academy of Arts, London, 28 March 2013

      I was knocked out by George Bellows’s “Stag at Sharkey’s” when I came across that painting on the web a few months ago (ref to my original blog post => HERE), so I it was rather exciting to be given the chance to see it “in the flesh” @ the Royal Academy. And I wasn’t disappointed: all of his boxing fights paintings and lithographs on display are mesmerising — I love Bellows’s gritty realism… I’m less keen when he tries to rub brush strokes with the New York upper class (a couple of of rooms in the exhibition made me cringe). 

      Self Hating Hipster:

      Bellows rubbed elbows with artists like John Sloan, Everett Shinn, George Luks and Reginald Marsh; this group of artists were referred to collectively as the Ashcan Painters because of the crude, unbridled depiction of urbanity in both its glory and filth. Instead of a lush, pastoral landscape or an impressionistic portrait of a woman with a parasol, these artists were painting hold-ups, kids bathing in the Hudson, burlesque shows, train tracks, dive bars, circuses, Coney Island…and boxing matches.

      George Bellows on boxing:

      I am not interested in the morality of prize fighting but let me say that the atmosphere around the fighters is a lot more immoral than the fighters themselves.

      […]

      I don’t know anything about boxing. I am just painting two men trying to kill each other.

      Interesting bits about a few of the boxing paintings:

      Dempsey and Firpo (1924):

      via Self Hating Hipster:

      The painting is a snapshot of a title fight between Jack Dempsey and Luis Firpo. Luis Firpo, a promising world-class heavyweight, challenged the then champion, Jack Dempsey and the bout was booked for September 14th, 1923 at the Polo Grounds in NY. As the story goes, Firpo dropped Dempsey in the beginning of first round; Dempsey got back to his feet and knocked Firpo down seven times (predating the 3KO limit per round and the rule prohibiting you from downing a half-downed opponent…Jesus).

      At the very end of the first round, Firpo backed Dempsey up against the ropes and rocked Dempsey’s chin sending him through the ropes and out onto the press table. Hell of a first round!

      [Bellows based his oil on a lithograph titled “Dempsey Through the Ropes” from the year prior which now goes for north of $100,000 at auction. This image has been facsimiled by the likes of the U.S. Armed Forces and The Simpsons.]

      The White Hope (1921):

      This litho recalls an event of 11 years earlier: the heavyweight title fight held in Reno, Nevada, on 4 jul 1910, in which the legendary African champion Jack Johnson decisevely defeated the former champion Jim Jeffries.

      Before the fight, promoters exploited racist attitudes by touting Jeffries as “the great white hope”. 

      Preliminaries (to the big out) (1916):

      Boxing had been made legal by 1916 but this Madison Square Garden fight is the first ever attended by women. 

      “Christina’s World” by Andrew Wyeth @ MoMA, NYC The woman crawling through the tawny grass was the artist’s neighbor in Maine, who, crippled by polio, “was limited physically but by no means spiritually.” Wyeth further explained, “The challenge to me was to do justice to her extraordinary conquest of a life which most people would consider hopeless.” He recorded the arid landscape, rural house, and shacks with great detail, painting minute blades of grass, individual strands of hair, and nuances of light and shadow. In this style of painting, known as magic realism, everyday scenes are imbued with poetic mystery. I always manage a quick visit to the MoMA whenever I’m in New York, although I must confess that over the past few years I’ve seen more of the museum’s bar than its galleries. But this time around I forced myself to avoid the bar and I stuck the art. “Christina’s World” is displayed in a corridor near the escalators and it pretty much stops you in your track as you make your way from one special exhibit to another. I wasn’t the only passer by who fell under the spell of the crawling woman: quite a few of us lingered around that painting a little too long.  [And to answer Ray72’s usual question every time we come out of an art show, “Christina’s World” would be the painting I’d take away with me and risk going to jail for.]

      “Christina’s World” by Andrew Wyeth @ MoMA, NYC

      The woman crawling through the tawny grass was the artist’s neighbor in Maine, who, crippled by polio, “was limited physically but by no means spiritually.” Wyeth further explained, “The challenge to me was to do justice to her extraordinary conquest of a life which most people would consider hopeless.” He recorded the arid landscape, rural house, and shacks with great detail, painting minute blades of grass, individual strands of hair, and nuances of light and shadow. In this style of painting, known as magic realism, everyday scenes are imbued with poetic mystery.

      I always manage a quick visit to the MoMA whenever I’m in New York, although I must confess that over the past few years I’ve seen more of the museum’s bar than its galleries. But this time around I forced myself to avoid the bar and I stuck the art.

      “Christina’s World” is displayed in a corridor near the escalators and it pretty much stops you in your track as you make your way from one special exhibit to another. I wasn’t the only passer by who fell under the spell of the crawling woman: quite a few of us lingered around that painting a little too long. 

      [And to answer Ray72’s usual question every time we come out of an art show, “Christina’s World” would be the painting I’d take away with me and risk going to jail for.]

      One of Colin Davidson’s portraits of Irish poet Michael Longley is on the BP Portrait Award 2012’s shortlist, currently on display @ the National Portrait Gallery, London. (That portrait is in my opinion definitely one of the best of this year’s crop.) It’s only when browsing Longley’s website that I realised that he was behind that striking painting of Glen Hansard, used as the album cover of Hansard’s latest record, Rhythm and Repose (recent blog post => HERE)… I must have two left eyes for not having made that connection earlier — Davidson’s style of portraiture is quite distinctive.  For me, his portraits of Ciarán Hinds really stand out but it’s probably because Hinds is a perfect subject for portraiture, what with his permanent brooding/moody air.  Sidenote: Glen Hansard is the odd one out here: he’s from Dublin. Davidson, Longley and Hinds are from Belfast. …………………………………………………………… NPG’s blurb on “The dialects of silence (portrait of Michael Longley)”: The portrait is of Irish poet Michael Longley and was made from life. Longley met the artist at the launch of the new Lyric Theatre, Belfast, where the foyer’s walls are hung with portraits by Davidson. Davidson says he attempts to “capture the monent when the sitter is lost in their own thoughts”. One of Colin Davidson’s portraits of Irish poet Michael Longley is on the BP Portrait Award 2012’s shortlist, currently on display @ the National Portrait Gallery, London. (That portrait is in my opinion definitely one of the best of this year’s crop.) It’s only when browsing Longley’s website that I realised that he was behind that striking painting of Glen Hansard, used as the album cover of Hansard’s latest record, Rhythm and Repose (recent blog post => HERE)… I must have two left eyes for not having made that connection earlier — Davidson’s style of portraiture is quite distinctive.  For me, his portraits of Ciarán Hinds really stand out but it’s probably because Hinds is a perfect subject for portraiture, what with his permanent brooding/moody air.  Sidenote: Glen Hansard is the odd one out here: he’s from Dublin. Davidson, Longley and Hinds are from Belfast. …………………………………………………………… NPG’s blurb on “The dialects of silence (portrait of Michael Longley)”: The portrait is of Irish poet Michael Longley and was made from life. Longley met the artist at the launch of the new Lyric Theatre, Belfast, where the foyer’s walls are hung with portraits by Davidson. Davidson says he attempts to “capture the monent when the sitter is lost in their own thoughts”. One of Colin Davidson’s portraits of Irish poet Michael Longley is on the BP Portrait Award 2012’s shortlist, currently on display @ the National Portrait Gallery, London. (That portrait is in my opinion definitely one of the best of this year’s crop.) It’s only when browsing Longley’s website that I realised that he was behind that striking painting of Glen Hansard, used as the album cover of Hansard’s latest record, Rhythm and Repose (recent blog post => HERE)… I must have two left eyes for not having made that connection earlier — Davidson’s style of portraiture is quite distinctive.  For me, his portraits of Ciarán Hinds really stand out but it’s probably because Hinds is a perfect subject for portraiture, what with his permanent brooding/moody air.  Sidenote: Glen Hansard is the odd one out here: he’s from Dublin. Davidson, Longley and Hinds are from Belfast. …………………………………………………………… NPG’s blurb on “The dialects of silence (portrait of Michael Longley)”: The portrait is of Irish poet Michael Longley and was made from life. Longley met the artist at the launch of the new Lyric Theatre, Belfast, where the foyer’s walls are hung with portraits by Davidson. Davidson says he attempts to “capture the monent when the sitter is lost in their own thoughts”. One of Colin Davidson’s portraits of Irish poet Michael Longley is on the BP Portrait Award 2012’s shortlist, currently on display @ the National Portrait Gallery, London. (That portrait is in my opinion definitely one of the best of this year’s crop.) It’s only when browsing Longley’s website that I realised that he was behind that striking painting of Glen Hansard, used as the album cover of Hansard’s latest record, Rhythm and Repose (recent blog post => HERE)… I must have two left eyes for not having made that connection earlier — Davidson’s style of portraiture is quite distinctive.  For me, his portraits of Ciarán Hinds really stand out but it’s probably because Hinds is a perfect subject for portraiture, what with his permanent brooding/moody air.  Sidenote: Glen Hansard is the odd one out here: he’s from Dublin. Davidson, Longley and Hinds are from Belfast. …………………………………………………………… NPG’s blurb on “The dialects of silence (portrait of Michael Longley)”: The portrait is of Irish poet Michael Longley and was made from life. Longley met the artist at the launch of the new Lyric Theatre, Belfast, where the foyer’s walls are hung with portraits by Davidson. Davidson says he attempts to “capture the monent when the sitter is lost in their own thoughts”. One of Colin Davidson’s portraits of Irish poet Michael Longley is on the BP Portrait Award 2012’s shortlist, currently on display @ the National Portrait Gallery, London. (That portrait is in my opinion definitely one of the best of this year’s crop.) It’s only when browsing Longley’s website that I realised that he was behind that striking painting of Glen Hansard, used as the album cover of Hansard’s latest record, Rhythm and Repose (recent blog post => HERE)… I must have two left eyes for not having made that connection earlier — Davidson’s style of portraiture is quite distinctive.  For me, his portraits of Ciarán Hinds really stand out but it’s probably because Hinds is a perfect subject for portraiture, what with his permanent brooding/moody air.  Sidenote: Glen Hansard is the odd one out here: he’s from Dublin. Davidson, Longley and Hinds are from Belfast. …………………………………………………………… NPG’s blurb on “The dialects of silence (portrait of Michael Longley)”: The portrait is of Irish poet Michael Longley and was made from life. Longley met the artist at the launch of the new Lyric Theatre, Belfast, where the foyer’s walls are hung with portraits by Davidson. Davidson says he attempts to “capture the monent when the sitter is lost in their own thoughts”. One of Colin Davidson’s portraits of Irish poet Michael Longley is on the BP Portrait Award 2012’s shortlist, currently on display @ the National Portrait Gallery, London. (That portrait is in my opinion definitely one of the best of this year’s crop.) It’s only when browsing Longley’s website that I realised that he was behind that striking painting of Glen Hansard, used as the album cover of Hansard’s latest record, Rhythm and Repose (recent blog post => HERE)… I must have two left eyes for not having made that connection earlier — Davidson’s style of portraiture is quite distinctive.  For me, his portraits of Ciarán Hinds really stand out but it’s probably because Hinds is a perfect subject for portraiture, what with his permanent brooding/moody air.  Sidenote: Glen Hansard is the odd one out here: he’s from Dublin. Davidson, Longley and Hinds are from Belfast. …………………………………………………………… NPG’s blurb on “The dialects of silence (portrait of Michael Longley)”: The portrait is of Irish poet Michael Longley and was made from life. Longley met the artist at the launch of the new Lyric Theatre, Belfast, where the foyer’s walls are hung with portraits by Davidson. Davidson says he attempts to “capture the monent when the sitter is lost in their own thoughts”. One of Colin Davidson’s portraits of Irish poet Michael Longley is on the BP Portrait Award 2012’s shortlist, currently on display @ the National Portrait Gallery, London. (That portrait is in my opinion definitely one of the best of this year’s crop.) It’s only when browsing Longley’s website that I realised that he was behind that striking painting of Glen Hansard, used as the album cover of Hansard’s latest record, Rhythm and Repose (recent blog post => HERE)… I must have two left eyes for not having made that connection earlier — Davidson’s style of portraiture is quite distinctive.  For me, his portraits of Ciarán Hinds really stand out but it’s probably because Hinds is a perfect subject for portraiture, what with his permanent brooding/moody air.  Sidenote: Glen Hansard is the odd one out here: he’s from Dublin. Davidson, Longley and Hinds are from Belfast. …………………………………………………………… NPG’s blurb on “The dialects of silence (portrait of Michael Longley)”: The portrait is of Irish poet Michael Longley and was made from life. Longley met the artist at the launch of the new Lyric Theatre, Belfast, where the foyer’s walls are hung with portraits by Davidson. Davidson says he attempts to “capture the monent when the sitter is lost in their own thoughts”. One of Colin Davidson’s portraits of Irish poet Michael Longley is on the BP Portrait Award 2012’s shortlist, currently on display @ the National Portrait Gallery, London. (That portrait is in my opinion definitely one of the best of this year’s crop.) It’s only when browsing Longley’s website that I realised that he was behind that striking painting of Glen Hansard, used as the album cover of Hansard’s latest record, Rhythm and Repose (recent blog post => HERE)… I must have two left eyes for not having made that connection earlier — Davidson’s style of portraiture is quite distinctive.  For me, his portraits of Ciarán Hinds really stand out but it’s probably because Hinds is a perfect subject for portraiture, what with his permanent brooding/moody air.  Sidenote: Glen Hansard is the odd one out here: he’s from Dublin. Davidson, Longley and Hinds are from Belfast. …………………………………………………………… NPG’s blurb on “The dialects of silence (portrait of Michael Longley)”: The portrait is of Irish poet Michael Longley and was made from life. Longley met the artist at the launch of the new Lyric Theatre, Belfast, where the foyer’s walls are hung with portraits by Davidson. Davidson says he attempts to “capture the monent when the sitter is lost in their own thoughts”.

        One of Colin Davidson’s portraits of Irish poet Michael Longley is on the BP Portrait Award 2012’s shortlist, currently on display @ the National Portrait Gallery, London.

        (That portrait is in my opinion definitely one of the best of this year’s crop.)

        It’s only when browsing Longley’s website that I realised that he was behind that striking painting of Glen Hansard, used as the album cover of Hansard’s latest record, Rhythm and Repose (recent blog post => HERE)… I must have two left eyes for not having made that connection earlier — Davidson’s style of portraiture is quite distinctive. 

        For me, his portraits of Ciarán Hinds really stand out but it’s probably because Hinds is a perfect subject for portraiture, what with his permanent brooding/moody air. 

        Sidenote: Glen Hansard is the odd one out here: he’s from Dublin. Davidson, Longley and Hinds are from Belfast.

        ……………………………………………………………

        NPG’s blurb on “The dialects of silence (portrait of Michael Longley)”:

        The portrait is of Irish poet Michael Longley and was made from life. Longley met the artist at the launch of the new Lyric Theatre, Belfast, where the foyer’s walls are hung with portraits by Davidson. Davidson says he attempts to “capture the monent when the sitter is lost in their own thoughts”.

        “Richie Culver” by Alan Coulson Third Prize of the BP Portrait Award 2012 exhibition @ National Portrait Gallery, London. NPG’s blurb: The portrait is of Richie Culver, a fellow artist and friend. Coulson visited Culver at his home and produced preparatory sketches before completing the painting in his studio. He says “my aim was the produce a direct and honest painting that would capture Richie’s unique appearance alongside his easygoing nature. The judges felt that in this bold figure, the artist very succesfully employed finely controlled paint colour and lighting. The ondulation of tone and attention to detail successfully brought the style and subject together. Great to see Coulson back this year with yet another striking portrait. I really like his style and I vividly remember his “Latoya”, one of my personal favourites from last year’s shortlist.

        “Richie Culver” by Alan Coulson

        Third Prize of the BP Portrait Award 2012 exhibition @ National Portrait Gallery, London.

        NPG’s blurb:

        The portrait is of Richie Culver, a fellow artist and friend. Coulson visited Culver at his home and produced preparatory sketches before completing the painting in his studio. He says “my aim was the produce a direct and honest painting that would capture Richie’s unique appearance alongside his easygoing nature.

        The judges felt that in this bold figure, the artist very succesfully employed finely controlled paint colour and lighting. The ondulation of tone and attention to detail successfully brought the style and subject together.

        Great to see Coulson back this year with yet another striking portrait. I really like his style and I vividly remember his “Latoya”, one of my personal favourites from last year’s shortlist.

        “El abuelo (Agustín Estudillo)” by Ignacio Estudillo Second Prize of the BP Portrait Award 2012 exhibition @ National Portrait Gallery, London. NPG’s blurb: The portrait is of Ignacio’s paternal grandfather. He says “It’s not a purely analytical portrait of my grandfaher, but a way of showing part of the human condition to which he belongs. I’m not only creating a portrait of my grandfather but also revealing a part of myself.” The judges felt that the large scale of this dramatic portrait of a single elderly figure in a dark room was intensely atmospheric, thoughtful and focused.

        “El abuelo (Agustín Estudillo)” by Ignacio Estudillo

        Second Prize of the BP Portrait Award 2012 exhibition @ National Portrait Gallery, London.

        NPG’s blurb:

        The portrait is of Ignacio’s paternal grandfather. He says “It’s not a purely analytical portrait of my grandfaher, but a way of showing part of the human condition to which he belongs. I’m not only creating a portrait of my grandfather but also revealing a part of myself.”

        The judges felt that the large scale of this dramatic portrait of a single elderly figure in a dark room was intensely atmospheric, thoughtful and focused.

        “Antie” by Aleah Chapin First Prize of the BP Portrait Award 2012 exhibition @ National Portrait Gallery, London. NPG’s blurb: The portrait is of a close friend of Chapin’s family and is part of a series of nude portraits of women she has known all of her life. Chapin says: “Her body is a map of her journey through life. The process of painting allowed me a glimpse of this journey and brought me into the present moment of our shared history.” The judges felt this ambitious nude portrait was beautifully painted, with controlled light, colour and tone. They admitted the honesty and integrity of how the subject is conveyed. Check out Chapin’s recent work “The Aunties Project” => HERE

        “Antie” by Aleah Chapin

        First Prize of the BP Portrait Award 2012 exhibition @ National Portrait Gallery, London.

        NPG’s blurb:

        The portrait is of a close friend of Chapin’s family and is part of a series of nude portraits of women she has known all of her life. Chapin says: “Her body is a map of her journey through life. The process of painting allowed me a glimpse of this journey and brought me into the present moment of our shared history.”

        The judges felt this ambitious nude portrait was beautifully painted, with controlled light, colour and tone. They admitted the honesty and integrity of how the subject is conveyed.

        Check out Chapin’s recent work “The Aunties Project” => HERE

        “Stag at Sharkey’s” by George Bellows, 1909 Peter Schjeldahl for the New Yorker: At the time, boxing was illegal in New York, except in clubs, such as Tom Sharkey’s Athletic Club, whose “members” might include anyone who paid at the door. Bellows said, “I don’t know anything about boxing. I am just painting two men trying to kill each other.” In one of several fine essays in the [National Gallery in Washington, DC] show’s catalogue, the art historian David Peters Corbett relates the savagery of Bellow’s fight scenes to the contemporaneous muckraking of Upton Sinclair, who wrote of hearing, in a Chicago slaughterhouse, “the hog-squeal of the universe.” The fighters at Sharkey’s collide in no way that I’ve ever seen in the ring: each with a leg lifted far from the floor, as one man jams a forearm into the bloody face of the other, while cocking a blow to the body. Their livid flesh, radiating agony, is a marvel of colors blended in wet strokes on the canvas. The picture is at once a snapshot of Hell and an apotheosis of painting. It evinces sensitive restraint by muting the expressions of the riotous ringsiders. 

        “Stag at Sharkey’s” by George Bellows, 1909

        Peter Schjeldahl for the New Yorker:

        At the time, boxing was illegal in New York, except in clubs, such as Tom Sharkey’s Athletic Club, whose “members” might include anyone who paid at the door. Bellows said, “I don’t know anything about boxing. I am just painting two men trying to kill each other.” In one of several fine essays in the [National Gallery in Washington, DC] show’s catalogue, the art historian David Peters Corbett relates the savagery of Bellow’s fight scenes to the contemporaneous muckraking of Upton Sinclair, who wrote of hearing, in a Chicago slaughterhouse, “the hog-squeal of the universe.” The fighters at Sharkey’s collide in no way that I’ve ever seen in the ring: each with a leg lifted far from the floor, as one man jams a forearm into the bloody face of the other, while cocking a blow to the body. Their livid flesh, radiating agony, is a marvel of colors blended in wet strokes on the canvas. The picture is at once a snapshot of Hell and an apotheosis of painting. It evinces sensitive restraint by muting the expressions of the riotous ringsiders. 

        Leigh Bowery by Lucian Freud, 1990-1994 National Portrait Gallery, London: Despite his size, Leigh Bowery was delicate and supple. Freud had always shunned working with professional models, but as a performer, Bowery was able to invent and sustain demanding poses. The two men developed a close relationship and for four years Bowery was his most consistent model. He said that sitting for Freud was like having a university education. Unknown to the artist, Bowery was gravely ill with AIDS.  [It’s via Bowery that Freud found his way to Big Sue] Leigh Bowery by Lucian Freud, 1990-1994 National Portrait Gallery, London: Despite his size, Leigh Bowery was delicate and supple. Freud had always shunned working with professional models, but as a performer, Bowery was able to invent and sustain demanding poses. The two men developed a close relationship and for four years Bowery was his most consistent model. He said that sitting for Freud was like having a university education. Unknown to the artist, Bowery was gravely ill with AIDS.  [It’s via Bowery that Freud found his way to Big Sue] Leigh Bowery by Lucian Freud, 1990-1994 National Portrait Gallery, London: Despite his size, Leigh Bowery was delicate and supple. Freud had always shunned working with professional models, but as a performer, Bowery was able to invent and sustain demanding poses. The two men developed a close relationship and for four years Bowery was his most consistent model. He said that sitting for Freud was like having a university education. Unknown to the artist, Bowery was gravely ill with AIDS.  [It’s via Bowery that Freud found his way to Big Sue] Leigh Bowery by Lucian Freud, 1990-1994 National Portrait Gallery, London: Despite his size, Leigh Bowery was delicate and supple. Freud had always shunned working with professional models, but as a performer, Bowery was able to invent and sustain demanding poses. The two men developed a close relationship and for four years Bowery was his most consistent model. He said that sitting for Freud was like having a university education. Unknown to the artist, Bowery was gravely ill with AIDS.  [It’s via Bowery that Freud found his way to Big Sue] Leigh Bowery by Lucian Freud, 1990-1994 National Portrait Gallery, London: Despite his size, Leigh Bowery was delicate and supple. Freud had always shunned working with professional models, but as a performer, Bowery was able to invent and sustain demanding poses. The two men developed a close relationship and for four years Bowery was his most consistent model. He said that sitting for Freud was like having a university education. Unknown to the artist, Bowery was gravely ill with AIDS.  [It’s via Bowery that Freud found his way to Big Sue] Leigh Bowery by Lucian Freud, 1990-1994 National Portrait Gallery, London: Despite his size, Leigh Bowery was delicate and supple. Freud had always shunned working with professional models, but as a performer, Bowery was able to invent and sustain demanding poses. The two men developed a close relationship and for four years Bowery was his most consistent model. He said that sitting for Freud was like having a university education. Unknown to the artist, Bowery was gravely ill with AIDS.  [It’s via Bowery that Freud found his way to Big Sue] Leigh Bowery by Lucian Freud, 1990-1994 National Portrait Gallery, London: Despite his size, Leigh Bowery was delicate and supple. Freud had always shunned working with professional models, but as a performer, Bowery was able to invent and sustain demanding poses. The two men developed a close relationship and for four years Bowery was his most consistent model. He said that sitting for Freud was like having a university education. Unknown to the artist, Bowery was gravely ill with AIDS.  [It’s via Bowery that Freud found his way to Big Sue] Leigh Bowery by Lucian Freud, 1990-1994 National Portrait Gallery, London: Despite his size, Leigh Bowery was delicate and supple. Freud had always shunned working with professional models, but as a performer, Bowery was able to invent and sustain demanding poses. The two men developed a close relationship and for four years Bowery was his most consistent model. He said that sitting for Freud was like having a university education. Unknown to the artist, Bowery was gravely ill with AIDS.  [It’s via Bowery that Freud found his way to Big Sue]

          Leigh Bowery by Lucian Freud, 1990-1994

          National Portrait Gallery, London:

          Despite his size, Leigh Bowery was delicate and supple. Freud had always shunned working with professional models, but as a performer, Bowery was able to invent and sustain demanding poses. The two men developed a close relationship and for four years Bowery was his most consistent model. He said that sitting for Freud was like having a university education. Unknown to the artist, Bowery was gravely ill with AIDS. 

          [It’s via Bowery that Freud found his way to Big Sue]

          Freud’s portraits of Big Sue @ National Portrait Gallery, London, 01 March 2012 “It’s flesh without muscle and it has developed a different kind of texture through being such a weight-bearing thing” National Portrait Gallery: Leigh Bowery introduced Freud to friends he thought might interest him of whom his clubbing friend, Sue Tilley, was one. For Freud, painting Tilley, known as “Big Sue”, was a continuation of his fascination with flesh, although he talked about not wanting to over indulge his ‘predilection towards people of unusual or strange proportions’. Sue Tilley (or Big Sue, as she came to be known) lies languidly on the sofa in a bohemian artist’s studio, far removed from her day job as a civil servant working for the Department of Social Security. Freud was initially fascinated by her size, however as time passed her proportions became more ordinary to him. Freud’s portraits of Tilley are a celebration of flesh and as a feminine as Manet’s “Olympia” or “Rokeby Venus” by Velasquez, although far less idealised The National Portrait Gallery is running an exhibition on Lucian Freud. Ten rooms filled with stunning portraits. Big Sue is plashed over all four walls of room VIII. Freud’s portraits of Big Sue @ National Portrait Gallery, London, 01 March 2012 “It’s flesh without muscle and it has developed a different kind of texture through being such a weight-bearing thing” National Portrait Gallery: Leigh Bowery introduced Freud to friends he thought might interest him of whom his clubbing friend, Sue Tilley, was one. For Freud, painting Tilley, known as “Big Sue”, was a continuation of his fascination with flesh, although he talked about not wanting to over indulge his ‘predilection towards people of unusual or strange proportions’. Sue Tilley (or Big Sue, as she came to be known) lies languidly on the sofa in a bohemian artist’s studio, far removed from her day job as a civil servant working for the Department of Social Security. Freud was initially fascinated by her size, however as time passed her proportions became more ordinary to him. Freud’s portraits of Tilley are a celebration of flesh and as a feminine as Manet’s “Olympia” or “Rokeby Venus” by Velasquez, although far less idealised The National Portrait Gallery is running an exhibition on Lucian Freud. Ten rooms filled with stunning portraits. Big Sue is plashed over all four walls of room VIII. Freud’s portraits of Big Sue @ National Portrait Gallery, London, 01 March 2012 “It’s flesh without muscle and it has developed a different kind of texture through being such a weight-bearing thing” National Portrait Gallery: Leigh Bowery introduced Freud to friends he thought might interest him of whom his clubbing friend, Sue Tilley, was one. For Freud, painting Tilley, known as “Big Sue”, was a continuation of his fascination with flesh, although he talked about not wanting to over indulge his ‘predilection towards people of unusual or strange proportions’. Sue Tilley (or Big Sue, as she came to be known) lies languidly on the sofa in a bohemian artist’s studio, far removed from her day job as a civil servant working for the Department of Social Security. Freud was initially fascinated by her size, however as time passed her proportions became more ordinary to him. Freud’s portraits of Tilley are a celebration of flesh and as a feminine as Manet’s “Olympia” or “Rokeby Venus” by Velasquez, although far less idealised The National Portrait Gallery is running an exhibition on Lucian Freud. Ten rooms filled with stunning portraits. Big Sue is plashed over all four walls of room VIII. Freud’s portraits of Big Sue @ National Portrait Gallery, London, 01 March 2012 “It’s flesh without muscle and it has developed a different kind of texture through being such a weight-bearing thing” National Portrait Gallery: Leigh Bowery introduced Freud to friends he thought might interest him of whom his clubbing friend, Sue Tilley, was one. For Freud, painting Tilley, known as “Big Sue”, was a continuation of his fascination with flesh, although he talked about not wanting to over indulge his ‘predilection towards people of unusual or strange proportions’. Sue Tilley (or Big Sue, as she came to be known) lies languidly on the sofa in a bohemian artist’s studio, far removed from her day job as a civil servant working for the Department of Social Security. Freud was initially fascinated by her size, however as time passed her proportions became more ordinary to him. Freud’s portraits of Tilley are a celebration of flesh and as a feminine as Manet’s “Olympia” or “Rokeby Venus” by Velasquez, although far less idealised The National Portrait Gallery is running an exhibition on Lucian Freud. Ten rooms filled with stunning portraits. Big Sue is plashed over all four walls of room VIII.

            Freud’s portraits of Big Sue @ National Portrait Gallery, London, 01 March 2012

            “It’s flesh without muscle and it has developed a different kind of texture through being such a weight-bearing thing”

            National Portrait Gallery:

            Leigh Bowery introduced Freud to friends he thought might interest him of whom his clubbing friend, Sue Tilley, was one. For Freud, painting Tilley, known as “Big Sue”, was a continuation of his fascination with flesh, although he talked about not wanting to over indulge his ‘predilection towards people of unusual or strange proportions’.

            Sue Tilley (or Big Sue, as she came to be known) lies languidly on the sofa in a bohemian artist’s studio, far removed from her day job as a civil servant working for the Department of Social Security. Freud was initially fascinated by her size, however as time passed her proportions became more ordinary to him. Freud’s portraits of Tilley are a celebration of flesh and as a feminine as Manet’s “Olympia” or “Rokeby Venus” by Velasquez, although far less idealised

            The National Portrait Gallery is running an exhibition on Lucian Freud. Ten rooms filled with stunning portraits. Big Sue is plashed over all four walls of room VIII.