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青少年时代的弗洛伊德样子看上去显得十分痛苦,但却非常朴素而有礼貌.自从弗洛伊德对那些失去活力的组织器官产生热情之后,他的作品常常带有死亡的气息:死去的鸡和死去的猴……等等.渗透到弗洛伊德作品中强烈歪曲的那种瞬间的堕落意识象世界宣言一样使人们恐慌.任何人不会知道在《在帕丁顿》(1951年)中的那个年轻男人的名字.此画看上去有点像1920年中欧的油画风格,这个穿着破旧,脸色苍白,极其痛苦的年轻人,手里拿着一支还未点燃的香烟,穿着雨衣站在室内.弗洛伊德在这幅油画中,采用了产生戏剧效果的艺术手法,使人看上去画中男人不知被什么事情吸引了注意力,在显露出心神不安的神情同时,他的右手做了一个使人好奇的姿势,手指紧紧握住并藏在暗处,似乎准备随时斜击出去严惩什么东西.然而是什么使这个男人像一个守护者那样,每分钟都在注意房间里的那株棕榈植物?这种近似感情夸张的形象处理并不是冷静的绘画意志所要控
The Freudian look of youth was painful but modest and polite, and since Freud became passionate about those organs and tissues that had lost its vitality, his work often bore the breath of death: Chickens and dead monkeys ... etc. The moment of depravity that permeates into the highly distorted Freudian works feels like a declaration of the world that scares people.Anyone will not know that in “at Paddington” (1951 ) Looks like a painting of Central Europe in 1920. The young, dressed, pale and extremely painful young man with a cigarette that has not been lighted and a raincoat stand Indoors, Freud used the art of dramatic effects in this painting, which made it appear that the man drew attention to something unknown to the man, and his right hand Made a curious gesture, fingers tightly hold and hide in the dark, seems ready to slap punched out at any punish what.However, make this man like a guardian every minute in the note The palm plant in mind the room? This approximate feeling exaggerated image processing is not calm painting will control