Relevant bibliographies by topics / Freud, Lucian

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Freud, Lucian'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Freud, Lucian.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Freud, Lucian"

1

Minns, Frank. "Reviews: Lucian Freud Portraits." British Journal of General Practice 62, no. 597 (April 2012): 211.2–211. http://dx.doi.org/10.3399/bjgp12x636218.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Thibaud, Paul. "L'atelier de Lucian Freud." Esprit Mai, no. 5 (2010): 195. http://dx.doi.org/10.3917/espri.1005.0195.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Loewenberg, Peter. "Lucian and Sigmund Freud." American Imago 61, no. 1 (2004): 89–99. http://dx.doi.org/10.1353/aim.2004.0015.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

RADFORD, ROBERT. "LUCIAN FREUD 1996-2005." Art Book 13, no. 2 (May 2006): 32–33. http://dx.doi.org/10.1111/j.1467-8357.2006.00664.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Boyce, Niall. "Lucian Freud: in the flesh." Lancet 379, no. 9817 (February 2012): 701. http://dx.doi.org/10.1016/s0140-6736(12)60295-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Ellen Handler Spitz. "Lucian Freud: Psychoanalysis in Paint?" American Imago 67, no. 3 (2010): 441–50. http://dx.doi.org/10.1353/aim.2010.0011.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Gonzalez-Torres, Miguel Angel, and Aranzazu Fernandez-Rivas. "Lucian Freud: the ruthless genius." International Forum of Psychoanalysis 30, no. 2 (January 13, 2021): 100–107. http://dx.doi.org/10.1080/0803706x.2020.1831064.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Rosenberg, Pierre. "Lucian Freud, Watteau et Chardin." Commentaire Numéro 147, no. 3 (August 28, 2014): 615–18. http://dx.doi.org/10.3917/comm.147.0615.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Karakeçili-, Emine. "Lucian Freud Resimlerinde Beden Yorumları." Uluslararası Sanat ve Sanat Eğitimi Dergisi 6, no. 6 (2021): 53–63. http://dx.doi.org/10.29228/jiajournal.51269.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Curling, Pip. "Lucian Freud: Hayward Gallery, London, 1988." de arte 23, no. 38 (September 1988): 34–35. http://dx.doi.org/10.1080/00043389.1988.11761076.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Freud, Lucian"

1

Foley, Laura-Jane Maria. "Lucian Freud portraits : curatorial ekphrasis in contemporary British poetic practice." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/28205/.

Full text
Abstract:
This PhD presents a new term for contemporary ekphrastic poetry: curatorial ekphrasis. The thesis is composed of two elements, a critical essay followed by a collection of poetry that informs and is informed by the former, Entitled 'Curatorial Ekphrasis in Contemporary British Poetic Practice', the critical essay challenges established critical approaches to ekphrastic poetics by revealing a curatorial practice currently being undertaken by a number of contemporary poets writing about artworks. Chapter One identifies and evaluates key critical texts about ekphrasis and its role in the relationship between word and image and highlights how theorists have failed to account for the work of ekphrastic poets with a heightened interest or background in art- Chapter Two presents and defines the term curatorial ekphrasis. The chapter discusses the emergence of the contemporary curator in the art world and discusses how the term 'curator' can be appropriated for use in a literary context The following chapters analyse the work of contemporary poets who I argue are writing curatorial ekphrasis, Chapter Three analyses Roger Hilton's Sugar (2005), a poetic sequence by Kelvin Corcoran (b.1956). Chapter Four analyses Paul Klee's Diary (1995), a long poem by Peter Hughes (b.1956). Chapter Five analyses De Chirico's Threads (2011), a verse-drama with soundscape by Carol Rumens (b.1944). The conclusion summarizes my research and also anticipates the creative work, which follows, by highlighting elements in the analysed texts that resonate with my own poetry. The conclusion also suggests areas for future research by both critical and creative practitioners. The critical essay is followed by the creative component of the PhD, a collection of curatorial ekphrasis entitled 'Lucian Freud Portraits'. The poetry collection is sectioned into five rooms, reflecting the layout of an exhibition at an art gallery, The collection includes twenty-nine poems and a poem-libretto. The collection is precede-d by a Preface, which introduces the work, and is followed by a section of notes, The appendix of the thesis includes reproductions of the artworks referred to in the poetry collection, a chronology of Lucian Freud's life, a catalogue raisonne of his entire works and an extensive bibliography of material written about the artist and his works. This information is provided in a similar manner to the wall notes, exhibition guides and catalogues which are offered to visitors of a traditional art gallery. They are not prescribed reading material, but they may prove of interest to the reader seeking further information.
APA, Harvard, Vancouver, ISO, and other styles
2

TRIOMPHE, MONIQUE. "Le portrait en grande-bretagne a travers les oeuvres de graham sutherland, francis bacon, lucian freud et david hockney (1960-1980)." Paris 8, 1991. http://www.theses.fr/1991PA080637.

Full text
Abstract:
Le portrait, c'est toujours l'histoire de deux personnes, celle de l'artiste et celle du modele. Le tableau est la resultante de leurs relations. Mais, si ce genre pictural recouvre necessairement des oeuvres subjectives, le peintre peut-il transgresser la regle fondamentale qu'est la ressemblance ? et comment se demarquentils alors de la photographie et de la video ? au-dela, on peut s' interroger sur la vision du monde du portraitiste mediatisee par ses relations avec son modele. C'est par le biais de ces trois parametres - modele, ressemblance et passage du particulier au general - que sont etudiees les oeuvres de quatre grands portraitistes britanniques graham sutherland, francis bacon, lucian freud et david hockney realisees entre 1960 et 1980. Graham sutherland qui se situe dans la grande lignee du portrait anglais ; francis bacon qui annule presque totalement son modele en tant que personne ; lucian freud qui soumet ses modeles a un examen quasi clinique ; david hockney expert en illusions visuelles et en manipulations savantes. Dans leur diversite, ces artistes temoignent de la modification de la nature et de la fonction meme du portrait dans une societe saturee d'images et de moins en moins insulaire. Contre toute attente, le portrait est aujourd'hui un genre florissant, tout particulierement en grande-bretagne
To portray is to tell the story of two persons : that of the artist and that of the sitter. A painting expresses the relationships between the two. Yet, even if subjectivity is necessarily underlying this kind of work, can the painter transgress its basic rule : likeness ? and what can his work be with photography and video competing with him ? moreover, what can the painter's vision of the world be at a time when the mass media interfer everywhere ? keeping un mind these three points, here is a study of the works of four british portrait-painters : graham sutherland, francis bacon, lucian freud and david hockney between 1960 and 1980. Their works, though deeply different, testify the basic change of meaning and function of portraiture in a society invaded by images produced by different countries and cultures. Surprisingly, portrait painting, nowadays, is expanding, particularly in great-britain
APA, Harvard, Vancouver, ISO, and other styles
3

Vanbaelinghem, Marjorie. "La peinture de Frank Auerbach, Francis Bacon et Lucian Freud face au concept d'École de Londres, 1976-2000 : de la tradition à la contemporanéité, de la figure au corps." Poitiers, 2006. http://www.theses.fr/2006POIT5022.

Full text
Abstract:
À partir de la fin des années soixante-dix, Frank Auerbach, Francis Bacon et Lucian Freud ont été exposés, aux côtés d'autres peintres britanniques, sous l'étiquette d'"École de Londres", un groupement artistique qui dissimule un phénomène critique et culturel. Leur peinture est définie comme "figuration", c'est-à-dire considérée comme la représentation de la condition humaine, l'héritage de la tradition artistique européenne et le versant éthique de l'art. Cette appréhension décontextualise et "fossilise" les peintres et leur travail dans un passé idéalisé, alors qu'elle-même résulte des tensions du monde de l'art des années soixante-dix et quatre-vingt. Par une remise en contexte et une appréhension alternative des oeuvres - notamment non figurative et phénoménologique -, Auerbach, Bacon et Freud apparaissent comme des artistes contemporains et leur travail, non comme une figuration, mais une peinture du corps
Auerbach, Bacon and Freud have long been judged by their association with a so-called "School of London". That concept, however, corresponds to no artistic reality, but rather to a critical and cultural phenomenon. I contend that it leads to a misguided apprehension of their paintings. The School of London is based upon a conception of figuration as traditionnal, meaningful and humanistic, and a focalisation on the figures in the paintings. Such an interpretation decontextualizes the art of Auerbach, Bacon and Freud, by considering it as an illustration of postwar angst or as an heritage of the European "Grand Manner". On the contrary, the School of London embodies a specific response to contemporary cultural tensions. By analysing its relationship to the context of the late seventies and the eighties, I show its raison d'être, and move on to an alternative apprehension of the painters' work as being contemporary and not concerned so much with figuration as with the body
APA, Harvard, Vancouver, ISO, and other styles
4

Profitt, Blue Aslan Philip. "In Luke More Than Luke: Family Romance and Narcissism in the 'Star Wars' Saga." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555689565560614.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

García, Caracuel María. "La Obligación de Información de Bienes y Derechos en el Extranjero Como Instrumento de Lucha Contra el Fraude Fiscal." Derecho & Sociedad, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/117701.

Full text
Abstract:
In this paper, the author analyses one of the obligations to inform recently implemented in Spain that requires from natural and legal persons to report about assets and properties abroad. Failure to comply with this requirement may make recognition of a gain over incomes and properties values not being declared. These gains will be considered income tax from last tax period.
En el presente trabajo, la autora analiza una obligación de informar recientemente incorporada al ordenamiento español que obliga a toda persona física y jurídica a declarar los bienes y derechos que posea en el extranjero, cuyo incumplimiento conlleva la generación de una ganancia patrimonial en relación con aquellos elementos patrimoniales no declarados que se imputarán al último ejercicio no prescrito.
APA, Harvard, Vancouver, ISO, and other styles
6

Broom, Hannah. "Aggressive Flesh: The Obese Female Other." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16093/.

Full text
Abstract:
My visual art practice explores the point at which a sense of bodily humour and revulsion may intersect in the world of the monstrous-feminine: the female grotesque, presented as my own obese (and post-obese) body. This exegesis is a written elucidation of my visual art practice as research. As an artist I create performative photographic images featuring taboo or otherwise 'inappropriate' subject matter, situations, materials and behaviours including bodily fluids, offal, internal organs and my own post-obese body. Through these modes of working, I establish and investigate the subjectivity of flesh: Why are we repulsed by the female grotesque? How can this flesh be used to subvert readings of the female body? My research is informed by those understandings of the female body, sexuality and difference described in the work of feminist theorists including Julia Kristeva, Helene Cixous, Ruth Salvaggio and Elizabeth Grosz. I explore the work of influential artists such as Eleanor Antin, Carolee Schneeman, Cindy Sherman and Sarah Lucas. In this context, I present my own visual art practice as a point from which the monstrous-feminine can be given voice as sentient, intelligent flesh.
APA, Harvard, Vancouver, ISO, and other styles
7

Thomas, Drew B. "The industry of evangelism : printing for the Reformation in Martin Luther's Wittenberg." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/14589.

Full text
Abstract:
When Martin Luther supposedly nailed his Ninety-Five Theses in 1517 to the Castle Church door in Wittenberg, the small town had only a single printing press. By the end of the century, Wittenberg had published more books than any other city in the Holy Roman Empire. Of the leading print centres in early modern Europe, Wittenberg was the only one that was not a major centre of trade, politics, or culture. This thesis examines the rise of the Wittenberg printing industry and analyses how it overtook the Empire's leading print centres. Luther's controversy—and the publications it produced—attracted printers to Wittenberg who would publish tract after tract. In only a few years, Luther became the most published author since the invention of the printing press. This thesis investigates the workshops of the four leading printers in Wittenberg during Luther's lifetime: Nickel Schirlentz, Josef Klug, Hans Lufft, and Georg Rhau. Together, these printers conquered the German print world. They were helped with the assistance of the famous Renaissance artist, Lucas Cranach the Elder, who lived in Wittenberg as court painter to the Elector of Saxony. His woodcut title page borders decorated the covers of Luther's books and were copied throughout the Empire. Capitalising off the demand for Wittenberg books, many printers falsely printed that their books were from Wittenberg. Such fraud played a major role in the Reformation book trade, as printers in every major print centre made counterfeits of Wittenberg books. However, Reformation pamphlets were not the sole reason for Wittenberg's success. Such items played only a marginal role in the local industry. It was the great Luther Bibles, spurred by Luther's emphasis on Bible reading, that allowed Wittenberg's printers to overcome the odds and become the largest print centre in early modern Germany.
APA, Harvard, Vancouver, ISO, and other styles
8

Domingues, Joséphine. "Une lecture phénoménologique des nus féminins de Francis Bacon et Lucian Freud : vers une éthique identitaire." Thèse, 2018. http://hdl.handle.net/1866/22055.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Garcia, Catarina Mendes 1986. "Estudo sobre dois modos de criar." Master's thesis, 2012. http://hdl.handle.net/10451/7521.

Full text
Abstract:
Tese de mestrado, Desenho, Universidade de Lisboa, Faculdade de Belas Artes, 2012
This study aims to address the creative processes involved in an artistic work of graphic nature, while having the act of drawing from observation as the starting point of a creative work. As a goal, this dissertation has as an ambition, to understand the vision of this kind of drawing in contemporary art, being it done in a classical way, or through printmaking. Printmaking has always had a connection with drawing, and it’s a privileged medium for artists who value line in their work and who wish to draw directly from any reference model. Consecutively, we have analyzed its similarities with the language of drawing and the question of reproducibility. The creative processes here referred, use our cognitive capacities during the course of the artistic work. Since the faculties of intuition and understanding are essential to creativity, the current researches in the field of neuroscience allow us to understand the way the artist performs a work of art. These studies will be analyzed and compared with the work of selected artists, active in the second half of the twentieth century, who have developed drawing. These are, on one hand, artists who draw without previous thought and, on the other hand, artists who do previous studies before advancing to the final work. It is intended to study the two approaches and understand the characteristics of both creative processes. One closer to a classic background and another connected to a more contemporary approach. Hence, a practical work was done which had the goal to reproduce both processes, in a modest way, so that we could understand by practical means, the kind of obstacles and advantages we would encounter. To reach a conclusion, the experiments were analyzed and linked with the research
APA, Harvard, Vancouver, ISO, and other styles
10

Pereira, Anabela Lopes 1966. "Artes visuais e construção de sentido." Master's thesis, 2014. http://hdl.handle.net/10451/11325.

Full text
Abstract:
Tese de mestrado, Educação artística, Universidade de Lisboa, Faculdade de Belas Artes, 2014
The interest in this research topic comes from the professional practice of the researcher. As a Visual Arts teacher she acknowledged that plastic experimentation is not followed by activities designed to develop skills of artistic appreciation. Being aware that school and art education in school have an important role in literacy, understood as the ability to encode and decode various forms of representation, intended to contribute to the development of students' autonomy in discerning visual language. After a review of the literature on developmental stages and models of aesthetic interpretation of the works of art, was outlined an action plan that went through the methodological choice of a case study with students from the 9th grade. The main purpose of this research was to design and analyze the results of the implementation of a program of artistic mediation based on a set of procedures that aim to stimulate dialogue about the work of art. For this, we used the works of artists such as Edward Hopper, René Magritte, Edvard Munch, Henri Matisse, Lucian Freud and Martha Telles, organized according to themes. The study concluded that the dynamics of the discussion about the work of art has revealed that the students have a valid knowledge to bring to the group and the interaction between them was a key factor for the construction of a more accurate language. The students were able to develop a structure that give them a wider range of possibilities in future experiments with other works of art. This research recommends the continuation of other studies on the implementation of this program of artistic mediation in other levels of education and / or in other contexts
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Freud, Lucian"

1

William, Feaver, ed. Lucian Freud. New York: Rizzoli, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Catherine, Lampert, Gayford Martin 1952-, and Irish Museum of Modern Art (Kilmainham, Dublin, Ireland), eds. Lucian Freud. Dublin: Irish Museum of Modern Art, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Freud, Lucian. Lucian Freud. Madrid: Museo Nacional Centro de Arte Reina Sofia, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Freud, Lucian. Lucian Freud. Sydney: Art Gallery of New South Wales, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Bruce, Bernard, and Birdsall Derek, eds. Lucian Freud. London: J. Cape, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Lucian, Freud, ed. Lucian Freud paintings. London: Thames and Hudson, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Freud, Lucian. Lucian Freud: Paintings. London: British Council, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Pompidou, Centre Georges, ed. Lucian Freud: L'atelier. Paris: Centre Pompidou, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Daniel, Blau, Rosenthal Norman, and Galerie Daniel Blau, eds. Lucian Freud: Portraits. München: Hirmer, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Freud, Lucian. Lucian Freud: Paintings. London: Thames and Hudson, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Freud, Lucian"

1

Fischer-Heine, Heike. "Die Bedeutung des Portraitmalens bei Lucian Freud (1922–2011)." In Kunst und Psyche - Berührungspunkte und Begegnungen, 33–50. Göttingen: Vandenhoeck & Ruprecht, 2015. http://dx.doi.org/10.13109/9783666450228.33.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Borelli, Rochele Maria, and Bernadette Maria Panek. "ATRAVÉS DE LINHAS E MANCHAS PULSAM AS SENSAÇÕES: A PINTURA DE LUCIAN FREUD E O DESNUDAMENTO DO SER." In Letras, Linguística e Artes: Perspectivas Críticas e Teóricas, 208–19. Atena Editora, 2019. http://dx.doi.org/10.22533/at.ed.77419050619.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"A challenge to Socialist Realism. Francis Bacon, Lucian Freud and others in an unknown 1960 exhibition in China." In Das verirrte Kunstwerk, 155–76. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110545685-010.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Macmaster, Neil. "Lucien Paye’s commune Reform." In War in the Mountains, 96–118. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198860211.003.0006.

Full text
Abstract:
After the Allied liberation of Algeria in late 1942, de Gaulle’s provisional government sought, as did Britain, to cling onto empire through a developmental policy. A 1943 reform commission focused in particular on the problem of a peasant ‘Malthusian’ crisis in which demographic growth outran basic food supplies, an agenda that became even more pressing after the 1945 famine and bloody revolt in the Sétif region. A young technocrat, Lucien Paye, appointed Director of Reform, formed plans to tackle the peasant problem through a programme, the Plan d’action communale (PACs), of economic modernization, closely tied to a communal reform. A case study of the PACs in the Chelif shows how the initiative was hamstrung by lack of investment, but conservative politicians brought the programme to an abrupt halt in February 1948, and unleashed a phase of mass electoral fraud. This gave a further lease of life to the moribund caid-CM system, and strengthened the nationalist currents that favoured preparation of an armed revolt.
APA, Harvard, Vancouver, ISO, and other styles
5

Brodsky, Seth. "Freiheitsdreck (1)." In From 1989, or European Music and the Modernist Unconscious. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520279360.003.0007.

Full text
Abstract:
This chapter focuses on three works that can be seen as “counter-events” to Hasselhoff, Rostropovich, and Bernstein: Heiner Goebbels's Befreiung for speaker and ensemble, Paweł Szymański's solo cello piece A Kaleidoscope for M. C. E., and Luciano Berio's Rendering, his “restoration” of the sketches to Franz Schubert's Tenth Symphony. While these events in on way compare—in terms of audience, mediation, or historical power—to the mega-events of part 1, their restaging of similar materials and scenarios in “contested” and “inverted” form is done in a kind of cultural nighttime, reconfigured as dreams configure the day's waking reality, its “recent and indifferent material,” as Freud puts it. The power that these new compositions lose as representatives of the year, they make up for as representatives of a certain truth, the truth of a collective unconscious desire—again, as dreams can tell the subject something about the truth concealed by its days.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Freud, Lucian"

1

Cao, Qian. "Empirical Study on Financial Fraud of Luckin Coffee." In 2020 2nd International Conference on Economic Management and Model Engineering (ICEMME). IEEE, 2020. http://dx.doi.org/10.1109/icemme51517.2020.00184.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Feng, Yingxiao, and Changhao Chen. "The Impact of Financial Fraud on Financial Risks: A Case Study of Luckin Coffee." In 2021 International Conference on Financial Management and Economic Transition (FMET 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/aebmr.k.210917.079.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Freud, Lucian' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography