Freud explains, “The painter’s obsession with his subject is all he

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Freud explains, “The painter’s obsession with his subject is allhe needs to drive him to work” (23). He further argues thatindividuals are drawn to make works of art, not through experience,rather via a necessity of communicating their feelings concerning theobject of choice. This is apparent in Painting 3. It is clear thatthe painter obsesses themselves with their subject. The painting’ssubject rests on a couch and seems to be deep in thought. Theposition of the subject demonstrates that they are looking atsomeone, most probably the painter. This means that the role of thepainter is to express the subject precisely as they appear,specifically capturing the posture, which the painter has managed.Hence, it is possible to conclude that the painter obsesses withtheir subject as suggested by Freud.

The article explains that painters that employ life as their theme,while working with the object before them, are capable of translatinglife in art. Picture 3 is an expression of the subject’s emotions.With the arms folded, legs folded and crossed and face focused ahead,the subject is thinking. The painter manages to express the subject’semotions through appropriately capturing their posture and facialexpression. Freud believes that the painter does not only focus onthe subject, but “air surrounding his subject” (24). Theatmosphere in Painting 3 is properly captured through the emptyspaces that the painter paints. Apart from the subject, are thecouch, wall, window and the subject is also folding their handfingers. These are important aspects of the painting. The paintermanages to express these aspects of the surrounding carefully. Theyare not auspicious, which makes the subject the focus, but are alsovisible for audiences.

Works Cited

Freud, Lucian. Some thoughts on painting, Encounter (1954):23-24.

Painting 3.

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