Lucian Freud

Catalogue Raisonné of the Oil Paintings

Catherine Lampert, Toby Treves

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Hardback

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English

Modern Art Press
06 May 2025

The Arts: General & Reference; History of Art & Design Styles; Oils; Individual artists, art monographs; Reference works

This second volume of the Lucian Freud catalogue raisonné is the first attempt to comprehensively catalogue the artist’s oil paintings. Over 500 works in the volume are presented and fully catalogued by Catherine Lampert and Toby Treves, with separate entries on each work providing essential information, a provenance, and history of exhibition and literature, followed by individual remarks. Lampert and Treves’s comments include new analysis of the paintings, informed by their collaborative research and collective knowledge of Freud’s oeuvre. Almost every work is reproduced in colour, including many for the first time. The catalogue contains several essays by contributors including the critic and Freud specialist Sebastian Smee, National Gallery research fellow Jacob Simon, and curator and art historian Colin Wiggins. A chronology of Freud’s life and work, comprehensive lists of solo and group exhibitions, and a bibliography provide a full overview of Freud’s career and critical responses to it, making the catalogue raisonné an indispensable tool for research.

By: Catherine Lampert, Toby Treves
Imprint: Modern Art Press
Country of Publication: United Kingdom
Dimensions: Height: 356mm, Width: 352mm,
ISBN: 9781916347472
ISBN 10: 1916347479
Pages: 1200
Publication Date: 06 May 2025
Audience: Professional and scholarly , Undergraduate
Format: Hardback
Publisher's Status: Active

Catherine Lampert, an independent curator and art historian, was director of the Whitechapel Gallery between 1988 and 2001. Toby Treves is an independent art historian and a former collections curator of twentieth-century British art at Tate.

Reviews for Lucian Freud: Catalogue Raisonné of the Oil Paintings

“This catalogue raisonné, with its near-faultless execution of forensic scrutiny, is the closest look we may ever get at this most controversial, and most brilliant, of post-war British painters.”—Matthew Holman, Art Newspaper