Leigh Bowery, a fashion icon and performance artist known for his flamboyant costumes and daring performances, became an iconic muse for the renowned painter Lucian Freud. During the 1990s, Freud painted a series of nudes of Bowery, capturing the raw energy and striking vulnerability of the man beneath the extravagant exterior. Bowery, who had been diagnosed as HIV positive since the late 1980s, was increasingly ill during these sessions. Yet, he remained a vital source of inspiration for Freud. Their collaboration resulted in some of Freud's most celebrated works, illustrating the profound connection between the two men.
Bowery's relationship with Freud was marked by mutual admiration and respect. Despite his deteriorating health, Bowery was thrilled to pose for the artist he admired so deeply. Freud, in turn, adapted his painting style to accommodate Bowery's massive frame, showcasing his ability to capture both the physical and emotional essence of his subjects. Bowery's death on December 31, 1994, at the age of 33, left a significant impact on Freud, who cherished their strong emotional bond.
The paintings Freud created of Bowery are now considered some of the most influential pieces in his career. These works not only depict Bowery's unique persona but also explore the complexities of his personal life, including his relationship with his partner, Nicola Bateman. This partnership was a vital aspect of Bowery's life and is depicted with tenderness and intensity in Freud's art.
Sue Tilley, a close friend of Bowery and another subject of Freud's paintings, has spoken candidly about their relationship. She noted that despite Bowery's declining health from meningitis, he maintained his vibrant spirit during the painting sessions.
"He was incredibly ill at the time. The meningitis was kicking in. I’m so lazy I had to lie down in all my pictures. Not for anyone would I be forcing myself to stand up and be uncomfortable." – Sue Tilley
Tilley highlighted the mutual admiration between Bowery and Freud, emphasizing how each brought out something extraordinary in the other.
"They worshipped each other and they both helped each other in so many ways," – Sue Tilley
Bowery's bravery and willingness to push boundaries captivated Freud, compelling him to adapt his technique to truly capture Bowery's essence.
"Leigh loved his intelligence and Lucian loved Leigh’s bravery. And because Leigh was so big, he had to go big in his paintings, change his brushstrokes, everything. They got on like a house on fire. They loved each other." – Sue Tilley
Bowery's life and work were filled with a vivid complexity that Freud skillfully rendered on canvas. His performances were provocative and challenged societal norms, characteristics that Freud sought to encapsulate in his portraits. The artist's works featuring Bowery and Bateman interweave their stories, reflecting their deep love and commitment.
"Leigh’s thumb is pressing his thigh and you can see the little dimple. It’s so lovely. Freud didn’t know they were married when he called it that." – Sue Tilley
Freud's portrayal of Bowery captures not only his flamboyant public persona but also his inner vulnerability and fragility. This duality is what makes these paintings resonate so profoundly with audiences and art critics alike.
"I think there was so much going on inside him that it made him bigger than he was. There was just so much for him to say and think about. He’d always been interested in learning things since he was very young – and getting his ideas out there." – Sue Tilley
The artist's dedication to capturing the essence of his subjects is perhaps best demonstrated by a record-breaking sale in 2008. Roman Abramovich purchased a Lucian Freud nude painting titled "Benefits Supervisor Sleeping" for £17.2 million, marking the highest price ever paid for a work by a living artist at that time. Tilley speculated that Bowery would have been furious it wasn't a painting of him that achieved such acclaim.
"Leigh would have been livid that it wasn’t a painting of him that broke the record," – Sue Tilley
The relationship between Bowery and Freud was characterized by more than just artistic collaboration; it was a genuine friendship built on affection and mutual respect. Both men supported each other through their respective challenges, forging a bond that transcended their professional endeavors.
“She loved him. She’d do anything for him. When Girl Sitting in Attic Doorway was painted, she knew Leigh was ill in the hospital and she was crying. Lucian didn’t know Leigh was that ill at the time, because we had to lie to him. The lies and the hoo-hah that went on! I love that picture.” – Sue Tilley