Jenny Saville: The Master of Modern Realism
Welcome to another episode of Painting of the Week! Today, we’re diving into the world of contemporary British painter, Jenny Saville, who has made waves in the art world. Born in 1970, Saville has solidified her place as one of the leading figures in contemporary figurative painting, with her works fetching record prices at auction. In fact, she currently holds the record for the most expensive painting sold at auction by a living female artist. Let’s take a closer look at her masterful work and why it resonates so deeply within the art community.
An Exploration of Flesh Tones
One of the most striking features of Saville’s work is her intense focus on the human body, specifically the female nude. Her painting Fulcrum is a perfect example of this. It’s not just a depiction of the human figure but an exploration of the different flesh tones that make up the body. This painting feels like an investigation, where the figure itself takes a backseat to the colors and textures that form it. The colors and brushwork almost make the body appear secondary to the paint itself.
When you first look at Fulcrum, you might not see the figure right away. The brushstrokes are so abstract that the painting almost looks like a collection of swirling, colorful marks on a flat surface. But as you step back and really let your eyes adjust, the figure begins to emerge, giving you a fascinating sense of depth and realism. The loose brushwork that defines her pieces is a reminder that we’re seeing an image that’s more than just a reflection of the human form; it’s a celebration of the materials and textures that artists use to create.
It’s not just about making a realistic image; it’s about how Saville chooses to reveal and explore the human body through paint. She blurs the line between abstraction and realism, allowing the viewer to experience the figure as both something familiar and otherworldly. For Saville, flesh is not just a surface—it’s a complex, layered thing, full of subtle tones that deserve to be appreciated.
Mastering the Difficult
One of the things that makes Jenny Saville’s paintings so captivating is how effortlessly she makes the difficult look easy. It’s a hallmark of a true master. Take Propped, the painting that made Saville’s career explode when it broke records at auction. The painting features a figure propped up by her arms, her body contorted in ways that seem almost impossible to achieve on a flat surface. But Saville makes it look effortless.
The beauty of Propped lies in the tension between the loose brushstrokes and the anatomical precision that underpins them. At first glance, you might think the brushwork is random, chaotic even. But if you take the time to really study it, you’ll see that every mark is deliberate and calculated. It’s not about neatness; it’s about capturing the raw, visceral nature of the human form.
One of the most challenging aspects of painting a figure, particularly in a foreshortened perspective like Propped, is capturing the way certain body parts—hands, knees, elbows—extend toward the viewer. Saville’s handling of foreshortening in these areas is nothing short of incredible. She makes the limbs feel three-dimensional, like they’re about to reach out and touch you, all while using loose, seemingly casual brushstrokes.
This combination of skill and spontaneity is what sets Saville apart from other figurative artists. Her work doesn’t just represent reality; it captures the raw energy and emotional depth of the human body. Every brushstroke tells a story, and the more you look, the more you discover.
The Power of Cropping and Focus
Another element that stands out in Saville’s work is her unconventional use of cropping. In many of her paintings, she intentionally cuts off parts of the figure—heads, elbows, hands—leaving you with a sense of something missing. In Fulcrum, for example, the heads are almost entirely cropped out, leaving only parts of the body to be observed.
This choice might seem jarring or uncomfortable at first, but that’s exactly the point. By removing these familiar focal points, Saville forces us to pay attention to other aspects of the painting—the textures, the colors, the structure of the body. It’s as if she’s challenging us to look beyond the face and engage with the body in a more visceral, primal way.
Interestingly, this cropping has the opposite effect of what you might expect. Rather than diminishing the significance of the face, it actually increases it. When a face is partially obscured, you find yourself searching for it, spending more time studying the few details that are visible. This creates a sense of curiosity and intimacy, as if you’re trying to connect with the figure in a way that’s beyond the superficial.
In Propped, the cropped face similarly pulls your attention toward other parts of the figure. It makes you reconsider what is most important in a painting. By removing the face from the equation, Saville forces you to engage with the body on a deeper level, focusing on the texture and form rather than just the identity of the subject.
The Art of Temperature Shifts
One of the subtler aspects of Saville’s paintings is her use of color temperature. Instead of relying on strong contrasts between light and dark, she plays with shifts in color temperature—cool versus warm tones. This shift isn’t just about creating visual contrast; it’s about creating emotional depth.
In Fulcrum, for instance, the cooler tones in the background make the warm flesh tones of the figure pop even more. It’s a technique that heightens the sense of the body’s physicality and presence. By placing complementary colors next to each other, Saville intensifies their impact, making the warmer tones feel even warmer, more alive. It’s this mastery of color that gives her paintings such emotional resonance.
It’s fascinating how Saville manages to create this sense of translucency in the flesh tones. At first, the colors might seem exaggerated, almost surreal, but the longer you look, the more you realize that these exaggerated colors could very well exist in the human body. The subtleties of veins, muscles, and skin are all captured with incredible precision, making her work not only visually striking but also deeply truthful in its representation of human form.
Conclusion: A Celebration of the Figure
What makes Jenny Saville’s work so exciting is that it reminds us that figurative painting is far from dead. There was once a time when many believed that representing the human figure was a thing of the past. But Saville’s work proves that the figure is still vibrant, still capable of expressing a wide range of emotions and ideas.
Her art challenges our assumptions about beauty, body image, and the way we see ourselves. Through her loose brushwork, her exploration of flesh tones, and her bold cropping, Saville forces us to reconsider what figurative painting can be in the 21st century. It’s no wonder that her work has made such a huge impact, both in the art world and on the auction block.
As we wrap up today’s episode of Painting of the Week, I can’t help but feel a sense of excitement about the future of contemporary realism. Jenny Saville has shown us that the human figure, when in the hands of a true master, can still captivate, challenge, and inspire. What do you think? How do these paintings make you feel? I’d love to hear your thoughts in the comments below!
