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class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" fill="black"></path></svg></div></a></li></ul></div></div></div><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearLeadWrapper-jYfGAC kBeEbL"><div data-ttid="ContentHearLeadAsset" class="SplScreenContentHearLeBlock-nUOA cwQiEB"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SplScreenContentHearLe-bGywFh gyNssY"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SplScreenContentHearLe-bGywFh gyNssY rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Lucien Frd" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“Self-Portra (Reflectn),” om 2002, when the artist was eighty years old.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Art work © The Lucian Frd Archive / Bridgeman Imag</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" 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iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">Among the Old Masters, still-lif and landsp tend to be as dividuated as fgerprts, but the naked body provok a more generalized reactn. The nu art should e as many varieti as there are bodi the world but tends to fall, stead, to two distct clumps, or l: the Spicly Perfect and the Deprsgly Tthful. The Spicly Perfect, which n be produced life only by adherence to a strenuo regimen and a certa amount of retouchg, stems om the Greek tradn: all those ialized bodi of kouroi, the mculature of their torsos ftg them like Armani sweaters; all those curvy Aphrod, crouchg and stretchg. (This figural tradn persists both as Photoshopped Instagram selfi and, parodic form, the ghastly-glamoro patg of John Curr.) The Deprsgly Tthful volv what Kenh Clark, his great study “The Nu” (1956), lled the Gothic tradn, wh the body as herently pathetic, s whorls of fat and llapsg mcl mute ttimony to the sheer absurdy of livg as a furls, awkwardly bipedal primate. The mixed mol, where the body n be both a b perfect and a b prsg (“I might be more perfect, if I lost five pounds and worked out more”), is a possibily life but is rarely pulled off art.</p><p class="paywall">Of that send, realist tradn, the master of the century past was surely Lucian Frd, the Brish pater of fat people who own their fat—who mata an ungmblg harmony wh their own imperfectn so plete that be a kd of perfectn. One n feel the absence of central heatg and of gyms alike every picture. Frd was a grandson of Sigmund, and a legendary figure London—for gamblg and love affairs—even before he was a first-rate pater. He is the subject of a two-volume bgraphy by the Brish art cric William Feaver, “The Liv of Lucian Frd” (Knopf), the send volume of which, subtled “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Fame</a>,” has jt been published. (The first volume, subtled “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Rtls Years</a>,” appeared 2019.)</p><p class="paywall">That Frd would get two volum of bgraphy, and that they would be published wh aplomb Ameri, would not have seemed likely a generatn ago. His reputatn is self a study changg taste: his bt work London cid wh the rise and triumph of Amerin patg, so much so that even the ft Brish art cric of the perd, David Sylvter—who admired Frd ffully—took the primacy of Amerin abstractn for granted. Compared wh the sublime far shor of a Koong or a Twombly, Frd’s tensely realized naturalism, wh s sistent tailg and nventnal, if liberately slapdash, illnistic mollg, looked provcial and <em>retardataire</em>—a lol taste, like warm beer. His reputatn Ameri was, at bt, peripheral. “The realists, like the poor, will always be wh ,” Robert Pc-Wten, a don of Amerin art, sighed.</p><p class="paywall">Even wh the Brish art tablishment, Frd stggled agast the tis. As Feaver reveals the new volume, the Arts Council of Great Bra refed to clu Frd a 1974 group show, explag that his work “reprents the extendg of tradns tablished well before 1960”—fatuo avant-gardism turned to burecratic fiat, rather as if the same uncil had refed to support the publitn of poetry rhyme, also a tradn tablished well before 1960. (The Arts Council may have done that, too, e to thk of .) In France, Frd’s art was regard as at bt an oddy, servg a general French spicn that this is simply what the Brs look like whout their cloth, and why they should put them back on.</p><p class="paywall">Yet, as Amerin art triumphalism cracked, Frd began to look much better. In 1989, Robert Hugh voted a book, both brilliantly scriptive and shallowly polemil, to Frd’s patg, and to the sufficiently regnized importance of his “School of London,” which alone, Hugh mataed, had kept place the central artistic prciple of seeg and lookg and vtigatg and rerdg. This school was, like all schools, somewhat willed to existence; s name seems to have origated wh the fe pater R. B. Kaj, who had ed his 1976 exhibn, “The Human Clay.” That phrase, turn, riv om Aun’s great poem rhyme royal, “Letter to Lord Byron”: “To me Art’s subject is the human clay, / And landspe but a background to a torso; / All Cézanne’s appl I would give away / For one small Goya or a Dmier.” It was the keynote of the movement.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Frd was an odd pick for Hugh’s fah the centraly of skill, sce was exactly the klutzs of his hand and the liberately primive look of his early work that had first brought him to attentn; even late his reer, his was still an awkward hand, om difference as much as om choice. The classroom craft of life drawg was somethg he largely disdaed. “I’ve always felt that I long to have what I image natural talent felt like,” Frd told Feaver. If he had been a better pater, he would have been a ls tertg artist.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="“Youve drifted very far om the center.”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“You’ve drifted very far om the center.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Frank Cotham</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div 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13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd 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10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">As the polemics dividg reprentatnal patg om abstract patg gave way to an acceptance of plural paths, Frd rose cril favor; today, his pictur sell for many lns of dollars at ctn. We now ld the heroism of close spectn, not as exposg an anti-ial but as self a kd of ialism, one somehow close, s fily to tail, to the transcennce of tth.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Bgraphi of paters pend on cintal pleasur—sce the re subject is prent only mimal reproductn—and the pleasur of Feaver’s two volum lie his novelistic pictn of the London art world which Frd me of age and flourished, om the onset of the Send World War until the end of the century. The parallel generatns of New York paters tend to war wh one another, wh work the prcipal preoccupatn, and were, asi om specifilly art-mad wrers like <a href=">Frank O’Hara</a>, largely isolated om the lerary currents and quarrels of the day. In London, <em>not</em> workg, or not beg seen to work, was the prcipal preoccupatn; Frd’s early days were spent, Feaver’s acunt, a fever dream of racetracks and Soho clubs, wh lerary and polil and artistic liv mixed, mostly a lake of alhol. Everyone drks everythg. Everyone has sex wh everyone else. (Although Frd behaved ways that enuraged the ia that he had gay affairs, isn’t clear whether he actually did.)</p><p class="paywall">So the School of London paters appear the pag, of urse, wh the wise Kaj philosophizg and Francis Ban fellatg a stranger a Soho club. But pretty much everyone louche and lerary shows up, too, to act characteristic ways. Here’s Orwell, at Osr Wil’s Café Royal. There’s Stephen Spenr, who be smten wh Frd. Aun turns up to nmn the pater as crooked wh money. Ian Flemg hosts him Jamai, shortly after havg fished “Caso Royale,” Flemg’s wife, Ann, beg a close Frd iend. Henry Green and Graham Greene drop by. Carole Blackwood, the femme fatale of the sixti lerati, shows up to marry Frd, briefly, before eventually movg on to Robert Lowell. The eccentric memoirist J. R. Ackerley is here. Even his dog Queenie is here, to drive Frd crazy as a portra subject.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">The terperatn of the circl seems a sign ls of Frd’s worldls than of the kd of world that London offers: an equable, if often bad-tempered nrd of tabl, more pannable and ls iologilly divid than New York, wh right-wgers and left-wgers breakg bread, and spivs and earls sharg spac, and people. Polil and iologil differenc are ls hard-edged, sexual and erotic liaisons are more open-end, and judgments about people are both more malic (everyone’s motiv are assumed to be sordid) and more tolerant (sce everyone’s motiv are sordid, self-righteons is a bore). Ls is expected, and ls is received. For an Amerin rear of artists’ bgraphi, acctomed to followg the daily slog om the stud to the bar to the bedroom, the peculiar nsy of London timaci is heady. It produc paragraphs as lightfully batty as this one the first volume, about the artist durg the late fifti:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Frd had already pated the De’s sisters, Elizabeth Cavendish, whom he hardly knew, and Anne Tree, wh whom he was more iendly, and who nducted vtigatns to bird sperm at Mereworth Kent; he had met her through [the sculptor Jab] Epste, who ma heads of both her and her hband, Michael Tree—owner of Colefax & Fowler, the terr rators—whom Frd also pated and wh whom he ed to enjoy stayg. (He had a snapshot of his host naked patg himself.) They had a chffr lled Waters, formerly employed by Peter Beatty, the prev owner of Mereworth who had bee bld and mted suici 1949 by jumpg out of a sixth-floor wdow at the Rz. “He liked Waters to wheel him up to people he disliked at rac and sult them; which he uld do as he was gog bld.”</p></div></blockquote><p class="paywall">In the new volume, Frd (whose quoted remiscenc fleck the pag) is at one pot patg Andrew Cavendish, the eleventh De of Devonshire, the same cktail of raship:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Durg one of the stgs a bailiff arrived and havg gaed entry refed to go away. “You n’t turn them out—anyway he was a huge man—and I troduced them. Andrew was a junr mister then and he asked, ‘Would you md leavg? We both work for the same people.’ ”</p></div></blockquote><p class="paywall">This sense, of everyone workg for, or wh, or around, the same people, was exquisely London.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Lucian’s father, Ernst, was a remarkably admirable man; an archect Berl the early thirti, he spotted the g events and got himself and his fay out of Germany and to London. (Four of Sigmund’s sisters were killed the ath mps.) The move was surprisgly lm. Ernst, the manner of Berl’s grand <em>Bildungsbürgertum</em>, touchgly asked what neighborhood was most like livg near the Tiergarten—meang, near a great park—and settled Mayfair. But he disvered that London had a more dispersed upper middle class than Paris or Berl, and moved his fay to a fe hoe St. John’s Wood. Ernst later the assisted Sigmund’s relotn om Vienna to London as well, notably fortable circumstanc. By special favor, Ernst’s fay were naturalized as Brish cizens, though late, 1939. Had they not been, they uld have been terned or sent abroad as “aliens,” as so many Jewish refuge were.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Sigmund was prent throughout Lucian’s life a very practil way: royalti om the Frd backlist were the stenance of Frd’s grandchildren for a long time, not least the high-livg Lucian. After a brief and mostly happy Brish schoolg, and a illy ept time as a merchant sailor, Frd set out, 1941, to bee a pater. He was disvered almost at once by Kenh Clark himself, who, havg perfect taste, saw his gift. Although Frd had an unnventnal trajectory, there was regnizable thory to what he pated early on. Choosg patg was, one sens, an affirmatn of the body over the bra, a way of rejectg his father’s and his grandfather’s more tellectual manners. He quickly evolved a fx-naïf style, wh sharp outl, flat surfac, and a folk-art treatment of figure and face, all of a kd that might remd an Amerin viewer of Ben Shahn, though this is Ben Shahn wh a swchbla his back pocket. Frd’s “Man wh a Feather (Self-Portra),” om 1943, is still the most prciently punk picture of the time, wh Frd showg himself strg tie and black su, lookg, eerily, like the rock micians who would blossom s later—a proto-Pete Townshend. Jt as Ban was at his bt his enigmatic pictur om the fifti, before he beme the self-nscly Grand Guignol pater of screamg Pop, Frd staked a claim to greatns the pictur he pated the after the war. Certaly, his wartime portras of Londoners at night—newsstand agents turned to Motrs and Soho spivs to sats—posssed a black-edy flair. His renrgs of his girliends (first Lorna Wishart and then her niece Kty, whom he married) were all big ey and slashed mouths and bright lors. They belong to a noir sensibily sweepg through the world at the time: the same spir that l up—or, rather, celebrated shadows—Carol Reed’s “The Third Man.”</p><p class="paywall">A se n be ma that Frd’s very bt work is that of the fifti, when his hard-edged imag of poignant futily hadn’t yet been overwhelmed by his appete for exprsg the same emotn exclively human fat. Ined, one uld argue that the real ann mirabilis of Brish patg me 1954. It’s the year when Ban pated “Two Figur the Grass” and “Figure wh Meat,” prsed piec of enigmatic Larkian melancholy, not yet flated by his later grandsy. And ’s the year when Frd pated “Hotel Bedroom,” a sad, simple scene of a man gazg at a (fully clothed) woman on a Paris hotel bed, as tense and suggtive as a Pter play, and still hard to top his work for emotnal power.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="uh65sm"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="rkri0c"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">As an timate of Frd’s, Feaver is able to reproduce many nversatns and monologu, which expla a lot of Frd’s weird magism—and somehow remble his art. That’s often the way wh artists: to meet Wayne Thiebd is to wns sweetns of temperament married wh iron certaty and anized rigor, like a Thiebd patg; to meet <a href=">Ed Rcha</a> is to hear lanic exprsn matched to an obvly heightened ambiguy of meang, like a Rcha prt. Artists speak their styl, to those wh ears to hear.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Lucian Frd and the Tth of the Body" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div 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12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc cxFROy alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Feaver hears Frd. The pater is not exactly wty, and his apothegms are rarely memorable, but they have a qualy of unemotnal evaluatn, almost clil s tachment, that rells his grandfather’s treatments, albe wh the subjects naked a London stud stead of clothed on a Vienne uch. Frd’s gaze is perfectly reproduced his nversatns: not cel, but <em>never</em> flatterg. They show exactly who Frd was and what he felt. He’s often at his bt on small thgs. On the experience of filmgog: “That thg of g out: all the people on the pavements havg proper liv and you’re all full of what’s been on the screen.” Or the superry of bathg to sleepg: “A bath mak a punctuatn for me often stronger than a night, or what remas of one, and often has a stronger moralisg effect—by which I mean a strengtheng of my moral fibre—than sleepg might have.” Or on the ternnectn of touch and sight: “You only learn to see by touch, to relate sight to the physil world. I look and look at the mol all the time to fd somethg new, to see somethg new which will help me.”</p><p class="paywall">Frd’s sex life is too central to his existence and art for a bgrapher to ignore. Placed on a kd of proto-penicill as a young man by a wary fay doctor, as a prophylactic agast the syphilis threatened by his nstant adventurg, Frd went on to father, by legend, as many as forty children. To his ntemporari, his fectn om the obligatns of fatherhood seemed jt one of those thgs. “Sometim, stead of untg sheep, I unt Lucian’s children,” one ex-lover says. In the new volume, one of his other lover-mols quot him: “Women were always takg children off him, he’d say, ‘Nothg to do wh me they’re havg children.’ ” And though she adds that this was “an outrageo thg to say,” she still had a child wh Frd, who paid srcely any attentn. Frd’s fascatn for women is tellgly tailed Celia Pl’s recent memoir, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Self-Portra</a>.” Pl, a first-rate pater herself who began an affair wh him while she was his stunt, documents Frd’s mixture of ld difference and sudn bursts of apparent affectn. (“Lucian arriv wh a huge bunch of yellow narcissi. I am tremblg so much bee of the unexpected gift that I n hardly lead the way up the stairs.”) Several of his neglected dghters, perhaps sperate for their father’s attentn, beme his mols, posg nu what ed to be lled “explic” posns. One feels that one has no right to fd this creepy, bee the people who were engaged didn’t fd creepy, and yet one fds this creepy.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The great qutn about Frd is how to expla the move om the quick-tch portras of the forti and fifti to the far more labor and plex nus he me to work on until his ath, 2011. He was not a natural naturist. For all the talk of his vigilant spectn of the real world, the nus are stylized, even ritural. A prime Frd nu, like “Naked Portra wh Reflectn,” of 1980, is s way as fabrited as a perd <em>Playboy</em> pictorial, but reversed; stead of the nu body stretched tt a luxuriant archecture of curvg balni, the body llaps prone, wh pendulo breasts, a barely visible waist, and articulate legs. A fall-down rather than a e-on.</p><p class="paywall">The more aggrsively “grotque” of Frd’s nus, like “Benefs Supervisor Sleepg,” of 1995—the subject, Sue Tilley, was ed an surance-benefs supervisor by day, though also an artist—are much ls shockg now than when they first appeared. A scriptive entry lls her “obe,” but Frd don’t thk she’s fat. He is too rpectful of her wrkl. She is a Renoir nu whout the dappled light, a Rubens woman whout the licy of overlaid charm or fur. One thg Frd n never be fairly acced of is treatg his sters as eaks; the human body might self be grotque, his visn, s saggg time-arc toward formlsns, but we all share the same sad shape.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Frd’s nus are Frdian another way, too. Usually, the recumbent or sleepg nu art is highly eroticized, as wh all those Ven Ingr or Grgne. They are allowg themselv to be looked at whout havg to be prent at the scene of the gaze. But sleep, for Frd’s figur, don’t volve an absence of attentn that allows to gawk; evok the prence of their own ner attentn, which pels to regnize them as siarly human. We all share one dream life, a sgular unnsc, which we leave our bodi for our mds. The soft shell left behd as we drift toward dreams is what Frd shows .</p><p class="paywall">All of Frd’s pictur are portras. One away om the flh rememberg the fac. Throughout Feaver’s book, the sgle most powerful of Frd’s obssns is wh his mols—fdg them, losg them, sometim lovg them. He se his subjects, both the men and the women, not as a more or ls agreeable nvas to work on but as dividuals—not typ but people. The ntuy of heads and bodi Frd’s work is the grammar of their humanism, wh punda treated wh the dividualy that a more tradnal portra art rerved for the wrkl around the mouth. Wh a Frd etchg like “Bella,” of 1982, the alertns and unashamed cursy—the turn of the head, the spark of the ey—is what we rell. The fac are treated as unsmetilly as the bodi, uglified every b as much, but no more so. Ined, if one uld vet one or two Frds for the mm of one’s md—which is the only place to have them, one of his nvas havg recently sold for twenty-ne ln dollars— might be the portra heads. It’s hard to fd more satisfyg pictur of worldly people than his of David Hockney and Jeremy Kg, or his seri of self-portras. They seem rved out of wood by experience.</p><p class="paywall">One of the virtu of Feaver’s last volume is that shows how strenuoly Frd rejected the mute, obssive realism of Northern Renaissance patg, or the <em>horror vacui</em> naturalism of the Pre-Raphael (both tradns wh which some crics associated him), and how he suated himself stead wh the French mornist tradn. It turns out that what me to the rcue of the human clay was . . . Cézanne’s appl. The difference between the early, graphic, flat Frd and the later, richer one is his Cézanniste attentn to form-makg as an act of nscience. It’s his technique that tak him elsewhere. It’s all very well to talk ply about the pastakg act of seeg; the pater has to translate those pieti to a practice. In place of Cézanne’s rectangular, latticed strok, Frd pos wh a strongly handled, shield-shaped mark—emphatic swipg enforced wh a persistent diagonal rhythm, so that each sharp mark ns jagged to the next, like the tracks of skis. Whe highlights, meanwhile, are nakedly laid on, not modulated om wh the sha but splashed down impulsively. Agatn is the signature mark, and angst the signature emotn.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="jqazp"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Frd, as his love of Cézanne impli, was a Franphile, wh favored louche Paris hotels, and yet his work, the end, belongs to the art of his chilly island. Natnal tradns art are as real (and as labile unr fluence) as natnal tradns okg; that they alter do not mean that they do not exist. The Brish nu is as real as the Brish breakfast. Feaver quot Rk’s unsel to “go to nature all sglens of heart . . . rejectg nothg, selectg nothg and srng nothg; believg all thgs to be right and good, and rejoicg always the tth.” Frd, he allows, thought this seemgly irrelevant advice was “preachy yet sensible.” Cézanne, the old le had , wanted to do Pos over om nature—to make somethg wh classil orr but whout the stock clichés of mythology. Frd wanted to do Cézanne over om ndor—to make a fully realized art of nse ntemplatn and diligent spectn that did not wce or pse at a sgle human fold, wrkle, or pelvic peculiary.</p><p class="paywall">Realism has many chapels. By the sixti, Amerin art had taken up the Whmanque ia of the relign of real thgs, the belief that all ias uld be dissolved to actual objects, flags, and soup ns, and managed to achieve both s burlque and s apotheosis. English patg asked a different qutn: What would happen if one took Rk’s mand serly and applied to morn patg? That was what the School of London tried to school about. Rembrandt is granr, Cézanne is nobler—but, when to the human animal qua animal, Frd has his own place. The old English qutn was what a realist art that rejects nothg human would be like, if you did nscly and purposefully, even heartlsly, but whout prejudice, and for a lifetime. Frd found out. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="69jj2"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2021/02/08" data-reactroot="">Febary 8, 2021</a>, issue, wh the headle “The Human Clay.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/adam-gopnik"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/adam-gopnik">Adam Gopnik</a>, a staff wrer, has been ntributg to The New Yorker sce 1986. He is the thor of, most recently, “<a href=">The Real Work: On the Mystery of Mastery</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/artists" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Artists</span></a><a href="/tag/paters" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Paters</span></a><a href="/tag/art" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Art</span></a><a href="/tag/books" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Books</span></a><a href="/tag/bgraphi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Bgraphi</span></a><a href="/tag/lucian-d" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Lucian Frd</span></a><a href="/tag/brish-artists" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Brish Artists</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Books & Fictn</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">Short stori and poems, pl thor terviews, profil, and tal om the world of lerature.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT laFPCK text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV bsgLJZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="The Semole Tribe Perfected Alligator Wrtlg" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k summary-em__k--isCneVio"> “Beg able to be so close to an animal who is so powerful and has lasted so long, you have to show rpect."</div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Ramshackle Street That Shaped a Generatn of Artists" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Books</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Ramshackle Street That Shaped a Generatn of Artists</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Ramshackle Street That Shaped a Generatn of Artists" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Coenti Slip was n down, abandoned, and severed om the Manhattan scene. A new book argu that was home to greatns.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Jackson Arn</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Inventn of a Neighborhood" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Letter om Brooklyn</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Inventn of a Neighborhood</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Inventn of a Neighborhood" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">In the early years of Brooklyn’s gentrifitn, a 1977 <em>New Yorker</em> piece by Jervis Anrson ptured the procs a eeze-ame. Those he terviewed were my neighbors.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Jonathan Lethem</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="There Is Nothg Élist About the Indictments Agast Tmp" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Daily Comment</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">There Is Nothg Élist About the Indictments Agast Tmp</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="There Is Nothg Élist About the Indictments Agast Tmp" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The judicial system is dog s work, and the former Print has never been a man of the people.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi 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class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" fill="black"></path></svg></div></a></li></ul></div></div></div><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearLeadWrapper-jYfGAC kBeEbL"><div data-ttid="ContentHearLeadAsset" class="SplScreenContentHearLeBlock-nUOA cwQiEB"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SplScreenContentHearLe-bGywFh gyNssY"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SplScreenContentHearLe-bGywFh gyNssY rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Lucien Frd" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“Self-Portra (Reflectn),” om 2002, when the artist was eighty years old.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Art work © The Lucian Frd Archive / Bridgeman Imag</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">Among the Old Masters, still-lif and landsp tend to be as dividuated as fgerprts, but the naked body provok a more generalized reactn. The nu art should e as many varieti as there are bodi the world but tends to fall, stead, to two distct clumps, or l: the Spicly Perfect and the Deprsgly Tthful. The Spicly Perfect, which n be produced life only by adherence to a strenuo regimen and a certa amount of retouchg, stems om the Greek tradn: all those ialized bodi of kouroi, the mculature of their torsos ftg them like Armani sweaters; all those curvy Aphrod, crouchg and stretchg. (This figural tradn persists both as Photoshopped Instagram selfi and, parodic form, the ghastly-glamoro patg of John Curr.) The Deprsgly Tthful volv what Kenh Clark, his great study “The Nu” (1956), lled the Gothic tradn, wh the body as herently pathetic, s whorls of fat and llapsg mcl mute ttimony to the sheer absurdy of livg as a furls, awkwardly bipedal primate. The mixed mol, where the body n be both a b perfect and a b prsg (“I might be more perfect, if I lost five pounds and worked out more”), is a possibily life but is rarely pulled off art.</p><p class="paywall">Of that send, realist tradn, the master of the century past was surely Lucian Frd, the Brish pater of fat people who own their fat—who mata an ungmblg harmony wh their own imperfectn so plete that be a kd of perfectn. One n feel the absence of central heatg and of gyms alike every picture. Frd was a grandson of Sigmund, and a legendary figure London—for gamblg and love affairs—even before he was a first-rate pater. He is the subject of a two-volume bgraphy by the Brish art cric William Feaver, “The Liv of Lucian Frd” (Knopf), the send volume of which, subtled “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Fame</a>,” has jt been published. (The first volume, subtled “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Rtls Years</a>,” appeared 2019.)</p><p class="paywall">That Frd would get two volum of bgraphy, and that they would be published wh aplomb Ameri, would not have seemed likely a generatn ago. His reputatn is self a study changg taste: his bt work London cid wh the rise and triumph of Amerin patg, so much so that even the ft Brish art cric of the perd, David Sylvter—who admired Frd ffully—took the primacy of Amerin abstractn for granted. Compared wh the sublime far shor of a Koong or a Twombly, Frd’s tensely realized naturalism, wh s sistent tailg and nventnal, if liberately slapdash, illnistic mollg, looked provcial and <em>retardataire</em>—a lol taste, like warm beer. His reputatn Ameri was, at bt, peripheral. “The realists, like the poor, will always be wh ,” Robert Pc-Wten, a don of Amerin art, sighed.</p><p class="paywall">Even wh the Brish art tablishment, Frd stggled agast the tis. As Feaver reveals the new volume, the Arts Council of Great Bra refed to clu Frd a 1974 group show, explag that his work “reprents the extendg of tradns tablished well before 1960”—fatuo avant-gardism turned to burecratic fiat, rather as if the same uncil had refed to support the publitn of poetry rhyme, also a tradn tablished well before 1960. (The Arts Council may have done that, too, e to thk of .) In France, Frd’s art was regard as at bt an oddy, servg a general French spicn that this is simply what the Brs look like whout their cloth, and why they should put them back on.</p><p class="paywall">Yet, as Amerin art triumphalism cracked, Frd began to look much better. In 1989, Robert Hugh voted a book, both brilliantly scriptive and shallowly polemil, to Frd’s patg, and to the sufficiently regnized importance of his “School of London,” which alone, Hugh mataed, had kept place the central artistic prciple of seeg and lookg and vtigatg and rerdg. This school was, like all schools, somewhat willed to existence; s name seems to have origated wh the fe pater R. B. Kaj, who had ed his 1976 exhibn, “The Human Clay.” That phrase, turn, riv om Aun’s great poem rhyme royal, “Letter to Lord Byron”: “To me Art’s subject is the human clay, / And landspe but a background to a torso; / All Cézanne’s appl I would give away / For one small Goya or a Dmier.” It was the keynote of the movement.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Frd was an odd pick for Hugh’s fah the centraly of skill, sce was exactly the klutzs of his hand and the liberately primive look of his early work that had first brought him to attentn; even late his reer, his was still an awkward hand, om difference as much as om choice. The classroom craft of life drawg was somethg he largely disdaed. “I’ve always felt that I long to have what I image natural talent felt like,” Frd told Feaver. If he had been a better pater, he would have been a ls tertg artist.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="“Youve drifted very far om the center.”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“You’ve drifted very far om the center.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Frank Cotham</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div 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13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd 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10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">As the polemics dividg reprentatnal patg om abstract patg gave way to an acceptance of plural paths, Frd rose cril favor; today, his pictur sell for many lns of dollars at ctn. We now ld the heroism of close spectn, not as exposg an anti-ial but as self a kd of ialism, one somehow close, s fily to tail, to the transcennce of tth.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Bgraphi of paters pend on cintal pleasur—sce the re subject is prent only mimal reproductn—and the pleasur of Feaver’s two volum lie his novelistic pictn of the London art world which Frd me of age and flourished, om the onset of the Send World War until the end of the century. The parallel generatns of New York paters tend to war wh one another, wh work the prcipal preoccupatn, and were, asi om specifilly art-mad wrers like <a href=">Frank O’Hara</a>, largely isolated om the lerary currents and quarrels of the day. In London, <em>not</em> workg, or not beg seen to work, was the prcipal preoccupatn; Frd’s early days were spent, Feaver’s acunt, a fever dream of racetracks and Soho clubs, wh lerary and polil and artistic liv mixed, mostly a lake of alhol. Everyone drks everythg. Everyone has sex wh everyone else. (Although Frd behaved ways that enuraged the ia that he had gay affairs, isn’t clear whether he actually did.)</p><p class="paywall">So the School of London paters appear the pag, of urse, wh the wise Kaj philosophizg and Francis Ban fellatg a stranger a Soho club. But pretty much everyone louche and lerary shows up, too, to act characteristic ways. Here’s Orwell, at Osr Wil’s Café Royal. There’s Stephen Spenr, who be smten wh Frd. Aun turns up to nmn the pater as crooked wh money. Ian Flemg hosts him Jamai, shortly after havg fished “Caso Royale,” Flemg’s wife, Ann, beg a close Frd iend. Henry Green and Graham Greene drop by. Carole Blackwood, the femme fatale of the sixti lerati, shows up to marry Frd, briefly, before eventually movg on to Robert Lowell. The eccentric memoirist J. R. Ackerley is here. Even his dog Queenie is here, to drive Frd crazy as a portra subject.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">The terperatn of the circl seems a sign ls of Frd’s worldls than of the kd of world that London offers: an equable, if often bad-tempered nrd of tabl, more pannable and ls iologilly divid than New York, wh right-wgers and left-wgers breakg bread, and spivs and earls sharg spac, and people. Polil and iologil differenc are ls hard-edged, sexual and erotic liaisons are more open-end, and judgments about people are both more malic (everyone’s motiv are assumed to be sordid) and more tolerant (sce everyone’s motiv are sordid, self-righteons is a bore). Ls is expected, and ls is received. For an Amerin rear of artists’ bgraphi, acctomed to followg the daily slog om the stud to the bar to the bedroom, the peculiar nsy of London timaci is heady. It produc paragraphs as lightfully batty as this one the first volume, about the artist durg the late fifti:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Frd had already pated the De’s sisters, Elizabeth Cavendish, whom he hardly knew, and Anne Tree, wh whom he was more iendly, and who nducted vtigatns to bird sperm at Mereworth Kent; he had met her through [the sculptor Jab] Epste, who ma heads of both her and her hband, Michael Tree—owner of Colefax & Fowler, the terr rators—whom Frd also pated and wh whom he ed to enjoy stayg. (He had a snapshot of his host naked patg himself.) They had a chffr lled Waters, formerly employed by Peter Beatty, the prev owner of Mereworth who had bee bld and mted suici 1949 by jumpg out of a sixth-floor wdow at the Rz. “He liked Waters to wheel him up to people he disliked at rac and sult them; which he uld do as he was gog bld.”</p></div></blockquote><p class="paywall">In the new volume, Frd (whose quoted remiscenc fleck the pag) is at one pot patg Andrew Cavendish, the eleventh De of Devonshire, the same cktail of raship:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Durg one of the stgs a bailiff arrived and havg gaed entry refed to go away. “You n’t turn them out—anyway he was a huge man—and I troduced them. Andrew was a junr mister then and he asked, ‘Would you md leavg? We both work for the same people.’ ”</p></div></blockquote><p class="paywall">This sense, of everyone workg for, or wh, or around, the same people, was exquisely London.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Lucian’s father, Ernst, was a remarkably admirable man; an archect Berl the early thirti, he spotted the g events and got himself and his fay out of Germany and to London. (Four of Sigmund’s sisters were killed the ath mps.) The move was surprisgly lm. Ernst, the manner of Berl’s grand <em>Bildungsbürgertum</em>, touchgly asked what neighborhood was most like livg near the Tiergarten—meang, near a great park—and settled Mayfair. But he disvered that London had a more dispersed upper middle class than Paris or Berl, and moved his fay to a fe hoe St. John’s Wood. Ernst later the assisted Sigmund’s relotn om Vienna to London as well, notably fortable circumstanc. By special favor, Ernst’s fay were naturalized as Brish cizens, though late, 1939. Had they not been, they uld have been terned or sent abroad as “aliens,” as so many Jewish refuge were.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Sigmund was prent throughout Lucian’s life a very practil way: royalti om the Frd backlist were the stenance of Frd’s grandchildren for a long time, not least the high-livg Lucian. After a brief and mostly happy Brish schoolg, and a illy ept time as a merchant sailor, Frd set out, 1941, to bee a pater. He was disvered almost at once by Kenh Clark himself, who, havg perfect taste, saw his gift. Although Frd had an unnventnal trajectory, there was regnizable thory to what he pated early on. Choosg patg was, one sens, an affirmatn of the body over the bra, a way of rejectg his father’s and his grandfather’s more tellectual manners. He quickly evolved a fx-naïf style, wh sharp outl, flat surfac, and a folk-art treatment of figure and face, all of a kd that might remd an Amerin viewer of Ben Shahn, though this is Ben Shahn wh a swchbla his back pocket. Frd’s “Man wh a Feather (Self-Portra),” om 1943, is still the most prciently punk picture of the time, wh Frd showg himself strg tie and black su, lookg, eerily, like the rock micians who would blossom s later—a proto-Pete Townshend. Jt as Ban was at his bt his enigmatic pictur om the fifti, before he beme the self-nscly Grand Guignol pater of screamg Pop, Frd staked a claim to greatns the pictur he pated the after the war. Certaly, his wartime portras of Londoners at night—newsstand agents turned to Motrs and Soho spivs to sats—posssed a black-edy flair. His renrgs of his girliends (first Lorna Wishart and then her niece Kty, whom he married) were all big ey and slashed mouths and bright lors. They belong to a noir sensibily sweepg through the world at the time: the same spir that l up—or, rather, celebrated shadows—Carol Reed’s “The Third Man.”</p><p class="paywall">A se n be ma that Frd’s very bt work is that of the fifti, when his hard-edged imag of poignant futily hadn’t yet been overwhelmed by his appete for exprsg the same emotn exclively human fat. Ined, one uld argue that the real ann mirabilis of Brish patg me 1954. It’s the year when Ban pated “Two Figur the Grass” and “Figure wh Meat,” prsed piec of enigmatic Larkian melancholy, not yet flated by his later grandsy. And ’s the year when Frd pated “Hotel Bedroom,” a sad, simple scene of a man gazg at a (fully clothed) woman on a Paris hotel bed, as tense and suggtive as a Pter play, and still hard to top his work for emotnal power.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="uh65sm"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="rkri0c"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">As an timate of Frd’s, Feaver is able to reproduce many nversatns and monologu, which expla a lot of Frd’s weird magism—and somehow remble his art. That’s often the way wh artists: to meet Wayne Thiebd is to wns sweetns of temperament married wh iron certaty and anized rigor, like a Thiebd patg; to meet <a href=">Ed Rcha</a> is to hear lanic exprsn matched to an obvly heightened ambiguy of meang, like a Rcha prt. Artists speak their styl, to those wh ears to hear.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Lucian Frd and the Tth of the Body" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Will McPhail</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc cxFROy alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Feaver hears Frd. The pater is not exactly wty, and his apothegms are rarely memorable, but they have a qualy of unemotnal evaluatn, almost clil s tachment, that rells his grandfather’s treatments, albe wh the subjects naked a London stud stead of clothed on a Vienne uch. Frd’s gaze is perfectly reproduced his nversatns: not cel, but <em>never</em> flatterg. They show exactly who Frd was and what he felt. He’s often at his bt on small thgs. On the experience of filmgog: “That thg of g out: all the people on the pavements havg proper liv and you’re all full of what’s been on the screen.” Or the superry of bathg to sleepg: “A bath mak a punctuatn for me often stronger than a night, or what remas of one, and often has a stronger moralisg effect—by which I mean a strengtheng of my moral fibre—than sleepg might have.” Or on the ternnectn of touch and sight: “You only learn to see by touch, to relate sight to the physil world. I look and look at the mol all the time to fd somethg new, to see somethg new which will help me.”</p><p class="paywall">Frd’s sex life is too central to his existence and art for a bgrapher to ignore. Placed on a kd of proto-penicill as a young man by a wary fay doctor, as a prophylactic agast the syphilis threatened by his nstant adventurg, Frd went on to father, by legend, as many as forty children. To his ntemporari, his fectn om the obligatns of fatherhood seemed jt one of those thgs. “Sometim, stead of untg sheep, I unt Lucian’s children,” one ex-lover says. In the new volume, one of his other lover-mols quot him: “Women were always takg children off him, he’d say, ‘Nothg to do wh me they’re havg children.’ ” And though she adds that this was “an outrageo thg to say,” she still had a child wh Frd, who paid srcely any attentn. Frd’s fascatn for women is tellgly tailed Celia Pl’s recent memoir, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Self-Portra</a>.” Pl, a first-rate pater herself who began an affair wh him while she was his stunt, documents Frd’s mixture of ld difference and sudn bursts of apparent affectn. (“Lucian arriv wh a huge bunch of yellow narcissi. I am tremblg so much bee of the unexpected gift that I n hardly lead the way up the stairs.”) Several of his neglected dghters, perhaps sperate for their father’s attentn, beme his mols, posg nu what ed to be lled “explic” posns. One feels that one has no right to fd this creepy, bee the people who were engaged didn’t fd creepy, and yet one fds this creepy.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The great qutn about Frd is how to expla the move om the quick-tch portras of the forti and fifti to the far more labor and plex nus he me to work on until his ath, 2011. He was not a natural naturist. For all the talk of his vigilant spectn of the real world, the nus are stylized, even ritural. A prime Frd nu, like “Naked Portra wh Reflectn,” of 1980, is s way as fabrited as a perd <em>Playboy</em> pictorial, but reversed; stead of the nu body stretched tt a luxuriant archecture of curvg balni, the body llaps prone, wh pendulo breasts, a barely visible waist, and articulate legs. A fall-down rather than a e-on.</p><p class="paywall">The more aggrsively “grotque” of Frd’s nus, like “Benefs Supervisor Sleepg,” of 1995—the subject, Sue Tilley, was ed an surance-benefs supervisor by day, though also an artist—are much ls shockg now than when they first appeared. A scriptive entry lls her “obe,” but Frd don’t thk she’s fat. He is too rpectful of her wrkl. She is a Renoir nu whout the dappled light, a Rubens woman whout the licy of overlaid charm or fur. One thg Frd n never be fairly acced of is treatg his sters as eaks; the human body might self be grotque, his visn, s saggg time-arc toward formlsns, but we all share the same sad shape.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Frd’s nus are Frdian another way, too. Usually, the recumbent or sleepg nu art is highly eroticized, as wh all those Ven Ingr or Grgne. They are allowg themselv to be looked at whout havg to be prent at the scene of the gaze. But sleep, for Frd’s figur, don’t volve an absence of attentn that allows to gawk; evok the prence of their own ner attentn, which pels to regnize them as siarly human. We all share one dream life, a sgular unnsc, which we leave our bodi for our mds. The soft shell left behd as we drift toward dreams is what Frd shows .</p><p class="paywall">All of Frd’s pictur are portras. One away om the flh rememberg the fac. Throughout Feaver’s book, the sgle most powerful of Frd’s obssns is wh his mols—fdg them, losg them, sometim lovg them. He se his subjects, both the men and the women, not as a more or ls agreeable nvas to work on but as dividuals—not typ but people. The ntuy of heads and bodi Frd’s work is the grammar of their humanism, wh punda treated wh the dividualy that a more tradnal portra art rerved for the wrkl around the mouth. Wh a Frd etchg like “Bella,” of 1982, the alertns and unashamed cursy—the turn of the head, the spark of the ey—is what we rell. The fac are treated as unsmetilly as the bodi, uglified every b as much, but no more so. Ined, if one uld vet one or two Frds for the mm of one’s md—which is the only place to have them, one of his nvas havg recently sold for twenty-ne ln dollars— might be the portra heads. It’s hard to fd more satisfyg pictur of worldly people than his of David Hockney and Jeremy Kg, or his seri of self-portras. They seem rved out of wood by experience.</p><p class="paywall">One of the virtu of Feaver’s last volume is that shows how strenuoly Frd rejected the mute, obssive realism of Northern Renaissance patg, or the <em>horror vacui</em> naturalism of the Pre-Raphael (both tradns wh which some crics associated him), and how he suated himself stead wh the French mornist tradn. It turns out that what me to the rcue of the human clay was . . . Cézanne’s appl. The difference between the early, graphic, flat Frd and the later, richer one is his Cézanniste attentn to form-makg as an act of nscience. It’s his technique that tak him elsewhere. It’s all very well to talk ply about the pastakg act of seeg; the pater has to translate those pieti to a practice. In place of Cézanne’s rectangular, latticed strok, Frd pos wh a strongly handled, shield-shaped mark—emphatic swipg enforced wh a persistent diagonal rhythm, so that each sharp mark ns jagged to the next, like the tracks of skis. Whe highlights, meanwhile, are nakedly laid on, not modulated om wh the sha but splashed down impulsively. Agatn is the signature mark, and angst the signature emotn.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="jqazp"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Frd, as his love of Cézanne impli, was a Franphile, wh favored louche Paris hotels, and yet his work, the end, belongs to the art of his chilly island. Natnal tradns art are as real (and as labile unr fluence) as natnal tradns okg; that they alter do not mean that they do not exist. The Brish nu is as real as the Brish breakfast. Feaver quot Rk’s unsel to “go to nature all sglens of heart . . . rejectg nothg, selectg nothg and srng nothg; believg all thgs to be right and good, and rejoicg always the tth.” Frd, he allows, thought this seemgly irrelevant advice was “preachy yet sensible.” Cézanne, the old le had , wanted to do Pos over om nature—to make somethg wh classil orr but whout the stock clichés of mythology. Frd wanted to do Cézanne over om ndor—to make a fully realized art of nse ntemplatn and diligent spectn that did not wce or pse at a sgle human fold, wrkle, or pelvic peculiary.</p><p class="paywall">Realism has many chapels. By the sixti, Amerin art had taken up the Whmanque ia of the relign of real thgs, the belief that all ias uld be dissolved to actual objects, flags, and soup ns, and managed to achieve both s burlque and s apotheosis. English patg asked a different qutn: What would happen if one took Rk’s mand serly and applied to morn patg? That was what the School of London tried to school about. Rembrandt is granr, Cézanne is nobler—but, when to the human animal qua animal, Frd has his own place. The old English qutn was what a realist art that rejects nothg human would be like, if you did nscly and purposefully, even heartlsly, but whout prejudice, and for a lifetime. Frd found out. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="69jj2"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2021/02/08" data-reactroot="">Febary 8, 2021</a>, issue, wh the headle “The Human Clay.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/adam-gopnik"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/adam-gopnik">Adam Gopnik</a>, a staff wrer, has been ntributg to The New Yorker sce 1986. He is the thor of, most recently, “<a href=">The Real Work: On the Mystery of Mastery</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/artists" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Artists</span></a><a href="/tag/paters" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Paters</span></a><a href="/tag/art" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Art</span></a><a href="/tag/books" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Books</span></a><a href="/tag/bgraphi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Bgraphi</span></a><a href="/tag/lucian-d" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Lucian Frd</span></a><a href="/tag/brish-artists" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Brish Artists</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Books & Fictn</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">Short stori and poems, pl thor terviews, profil, and tal om the world of lerature.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT laFPCK text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV bsgLJZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="The Semole Tribe Perfected Alligator Wrtlg" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k summary-em__k--isCneVio"> “Beg able to be so close to an animal who is so powerful and has lasted so long, you have to show rpect."</div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Ramshackle Street That Shaped a Generatn of Artists" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Books</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Ramshackle Street That Shaped a Generatn of Artists</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Ramshackle Street That Shaped a Generatn of Artists" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Coenti Slip was n down, abandoned, and severed om the Manhattan scene. A new book argu that was home to greatns.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Jackson Arn</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Inventn of a Neighborhood" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Letter om Brooklyn</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Inventn of a Neighborhood</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Inventn of a Neighborhood" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">In the early years of Brooklyn’s gentrifitn, a 1977 <em>New Yorker</em> piece by Jervis Anrson ptured the procs a eeze-ame. Those he terviewed were my neighbors.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Jonathan Lethem</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="There Is Nothg Élist About the Indictments Agast Tmp" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Daily Comment</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">There Is Nothg Élist About the Indictments Agast Tmp</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="There Is Nothg Élist About the Indictments Agast Tmp" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The judicial system is dog s work, and the former Print has never been a man of the people.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi 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