Dorota Lasota

06/06/2026

05/06/2026

16/05/2026

Long before Lucien Freud's famous thick impasto portraits, he was a master of the pencil. In "Rabbit on a Chair" (1944), he used tiny, millimeter-long marks to build texture—a clear nod to Dürer’s hyper-realism.

There’s something so raw about the contrast between the rigid, broken cane of the chair and the soft, yielding sleeping form of the rabbit. It’s clinical, unflinching, and strangely beautiful.

Do you prefer this sharp, linear style or his later, fleshier oil paintings?

10/05/2026

Dorota Lasota

21/04/2026