"“I was just like, 'wow.' What do these two titans of art and fashion talk about in these hours-long sessions?” he told me over a video call. “I was interested in the incongruity of the two characters, but my intuition was that they obviously found some kind of rapport, some kind of kindred spirit.”"
"Moss, played with a cool casualness by Ellie Bamber, arrives at London's National Gallery after, it appears, a night of partying to meet a contemplative Freud, played by stage and screen legend Derek Jacobi. They bond over Titian's Diana and Actaeon (1556-59), specifically its nude figures. The model deems it a sensual work. “Somehow, life appears more permanent without clothes,” Freud decides. “Heard that before,” she responds dryly."
"For the next few months, Moss will visit Freud's Kensington studio seven times a week, from 7 p.m. to 2 a.m. They'll find friendship, as well as friction as Moss's hard-partying lifestyle crashes against Freud's punctiliousness. He scolds her for being mere minutes late to their sessions; she invites him to imbibe in some opium. Eventually, "
In 2002, Lucian Freud unveiled a full-length nude pregnant portrait of Kate Moss, executed with intense realism. Freud rarely painted celebrities, but made an exception for Moss, leading to an unexpected friendship. A film dramatizes how the portrait came to be, focusing on the early-2000s East London context and the pair’s conversations and sessions. Moss meets Freud at London’s National Gallery and they bond over Titian’s nude figures in Diana and Actaeon, discussing sensuality and the idea of permanence without clothes. Over months, Moss visits Freud’s Kensington studio repeatedly, building friendship while clashing with his strict routines and her party-driven lifestyle.
Read at Artnet News
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