Jenny Saville was born in 1970 in Cambridge, England. She attended the Glascow School of Art from 1988–1992. Saville does figurative art mainly using paint or charcoal. Saville concentrates on her fascination with “imperfections” of the flesh, including all of society’s ramifications and taboos. She creates unidealized forms of nude humans -particularly females-in a way that is alluring.
“ I paint flesh because I’m human…if you work in oil, as I do, it comes naturally. Flesh is just the most beautiful thing to paint. “ — Saville
She is influenced by feminist art and abstract expressionism. An inspiration of hers is Tracey Emin, a renowned artist. Emin’s profoundly intimate and confessional artworks are what she is known for, and she uses her fame and media to publicize it.
Saville’s fame has even allowed a collaboration titled “Closed Contact“ with famous photographer,Glenn Luchford.
Saville’s Famous Works
‘Branded’ — 1992
In this work, Saville paints her own torso and breasts to appear distorted, imposing, and pendulous.It shows an unidealized form of her nude self with a weighty figure,dominating the frame.
The words from feminist theorist Luce Irigaray, “delicate,” “supportive,” “irrational,” “decorative,” and “petite,” are all written backwards, imprinted on the flesh. These words demeans,categorizes and characterizes women as though they have no control over who they are and are more frequently connected with women than with men. They will remain permanently etched on the skin. Imprintment has been used to dehumanize women and make them livestock rather than people. “Branded” was meant to be interpreted to counter the preconceived notions about the representation of women.
Saville has said, “I’m not painting disgusting, big women. I’m painting women who’ve been made to think they’re big and disgusting.“
This work is an act of defiance and hopes to dispel unwelcomed stereotypes about what a feminine body looks like.
“Passage” — 2004–2005
In Passage, a lady is seen with her legs extended. The transsexual lady leans back provocatively, with a natural penis and faux breasts.The painting has strokes of pale blue tones alongside forceful,strong brushwork.
At a time when LGBTQIA issues were coming forward, this work reveals the body as a social construct and represents an untypical, transgender woman’s body. She painted a body that was uncommon-a cross between a natural and artificial body.
Saville’s intentions were,”to find bodies that manifest in their flesh something of our contemporary age. I’m drawn to bodies that emanate a sort of state of in-betweeness: a hermaphrodite, a transvestite, a carcass, a half-alive/half-dead head.”
This work shows the shifting of sexual identities and the rejection of differences between males and females bodies.
How has contextual trends affected her missions and beliefs?
Her aim to address taboo topics like maternity, plastic surgery, fitness, and the stereotypical portrayal of women in art and popular culture — themes that have mostly been absent from the history of paintings, especially paintings of women — are reflected in her paintings.
Therefore, her paintings featured enormous models with battered surfaces, untidy hair, and massive figures that eluded planes.
Summary
Saville’s work has had a significant impact on the art world,contributing to painting, empowering female artists, and redefining beauty standards.In an era when figurative painting is considered antiquated, its approach has resurrected old techniques and revived them in contemporary art.
She counters these narrow-minded views that has been implanted since historical days, where females were painted with only delicate and fragile frames in mind.
Saville has thrown these questions out - now it is up to our society for change.