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Early on, he painted with a Memling-like precision, each hair and eyelash clearly delineated, with a light palette and a (comparatively) gentle eye. Then, switching from sable to hoghair, his brushwork grew broader, his tones dunner and greener, his canvases larger; some of his sitters grew larger too, culminating in the enormous Leigh Bowery and Sue Tilley the benefits supervisor (perhaps the most famous fat woman since Two-Ton Tessie OÃ¢ÂÂShea). Freud liked to emphasise his own incorrigibility, his instinct to do the opposite of what he was told to do; and several times in interviews he ascribed this major stylistic switch to being praised for the drawing which was the basis of his painting. So he decided to stop drawing and to paint more loosely. This explanation seems hardly credible, given his admiration for great draughtsmen like Ingres and Rembrandt. Further, no artist as serious as Freud, however contrarian he might be, would allow himself to be stylistically controlled by (even favourable) criticism. But the explanation draws attention away from the truer reason, which he also admitted: the influence of Francis Bacon. Freud lived his life instinctively, but painted with utter control; Bacon outdid him by seeming to paint instinctively, and at speed, with no preliminary drawing, occasionally finishing a picture in a morning. Some found FreudÃ¢ÂÂs stylistic switch alarming, or worse that that: Kenneth Clark, an early admirer, wrote to Freud suggesting that he was deliberately suppressing what made his work remarkable. Ã¢ÂÂI never saw him again,Ã¢ÂÂ Freud tells Gayford. Another one off the Tiberian cliff.