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Jenny Saville

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Jenny Saville
RA
Born
Jennifer Anne Saville

7 May 1970 (1970-05-07) (age 56)
Cambridge, England
EducationUniversity of Cincinnati, Glasgow School of Art
Known forPainting
MovementYoung British Artists
Relatives
AwardsRoyal Academician (2007)

Jennifer Anne Saville RA (born 7 May 1970)[1] is an English figurative painter and an original member of the Young British Artists (YBAs).[2][3] Saville lives and works in Oxford, England,[4] and is noted for her large-scale nudes of unconventional female subjects. Some credit her with originating a new method of painting the female nude for contemporary art.[5]: 26–29 

Recurring figures depicted in her work range from mothers, children, transgender people, burn victims, and cosmetic surgery patients.[5] Although her work subverts many beauty standards and is informed by contemporary feminist theory, she also often references art history in her paintings.[6]

As of 2018, she is regarded as the "Most Expensive Living Female Artist" after her work Propped (1992) sold at Sotheby’s for £9.5 million (~US$11.7 million).[7]

Early life and education

[edit]

Saville was born in Cambridge, England.[2] For secondary school, she went to the Lilley and Stone School (now The Newark Academy) in Newark, Nottinghamshire.

From 1988 to 1992, Saville earned her Bachelor of Fine Arts (BFA) degree at the Glasgow School of Art.[4] While studying there, she was awarded a six-month scholarship to the University of Cincinnati in 1991, where she enrolled in a course in women's studies.[8]: 19 [9]

Career

[edit]
The Saatchi Gallery, London

Saville's early works included large-scale self-portraits and other portraiture.[1] Since her debut in 1992, Saville's focus has remained on the female body, stating she is "drawn to bodies that emanate a sort of state of in-betweenness: hermaphrodite, a transvestite, a carcass, a half-alive/half-dead head."[10]

Charles Saatchi offered Saville an 18-month contract,[when?] supporting her while she created new works to be exhibited at the Saatchi Gallery in London.

In 1994, the exhibition Young British Artists III displayed Saville's self-portrait, Plan (1993), as the signature piece.[11] Saville is regarded as being part of the Young British Artists (YBAs).[9]

Also n 1994, Saville observed plastic surgery operations in New York City.[12] Her published sketches and documents include surgical photographs of liposuction, trauma victims, deformity correction, disease, and transgender patients.[13] Much of her work features distorted flesh, while others show the marks of plastic surgery.

Between 1995 and 1996, Saville collaborated with photographer Glen Luchford to produce Closed Contact, a series of large photographic C-prints which depict Saville's nude body pressed up against a clear panel.[14][15] The photographs were taken from underneath the glass and depict the female figure very distorted. The series explores femininity and the challenges the perception of the female body.[16] The works were shown in 2002 at the Gagosian Gallery in Beverley Hills.[15]

In 2004, Saville explored the idea of floating gender in her work Passage. Saville is quoted saying "With the transvestite I was searching for a body that was between genders. I had explored that idea a little in Matrix. The idea of floating gender is not fixed. The transvestite I worked with has a natural penis and false silicone breasts. Thirty or forty years ago this body couldn't have existed and I was looking for a kind of contemporary architecture of the body. I wanted to paint a visual passage through gender – a sort of gender landscape."[17]

In 2018, Saville's Propped (1992) sold at Sotheby's in London for £9.5 million, well above its £3-£4 million estimate,[6] becoming the most expensive work by a living female artist sold at auction.[7] Saville's work Propped (1992) was described as "one of the undisputed masterpieces of the Young British Artists" by Sotheby's European head of Contemporary Art, Alex Branczik.[7] This piece is said to be masterful because it is "the superlative self-portrait that shatters canonised representations of female beauty."[18]

In 2023, Saville was one of two women (alongside Julie Mehretu) to have made the top 10 auction lots sold in that year.[19]

Work

[edit]

Materials and technique

[edit]

Saville is known for her use of large canvases, usually six by six feet (1.8 by 1.8 m) or more.[6] She usually paints these by placing them on the floor and using brushes and extended tools to apply and manipulate paint, pushing, smearing, and scraping the pigment across the canvases.[3][20]

Saville's work is also known for her use of strongly pigmented oil paint applied in heavy layers.[citation needed] Kenny Smith of the Scottish Field commented that Saville's layering of colours and techniques "capture a sense of motion and fluidity. These restless images provide no fixed point, but rather suggest the perception of simultaneous realities."[21] Saville's technique creates a look that is visceral and fleshy,[20] with the size of her paintings allowing the viewer to see the details and layering of her aesthetic of movement and abstract realism.[6] Saville's "post-painterly style"[22] has been compared to that of Lucian Freud[23] and Rubens.[24] Her work has also been compared to the gestural painting of Willem de Kooning in his Woman series.[citation needed]

Torso (2004–2005), oil on canvas

Saville often uses small brushstrokes to build up the paint and soften the image.[citation needed] Using this technique, the finish of her paintings are matte without appearing "dry".[25] She frequently uses muted colour combinations for her work to create a soft atmosphere that contrasts with her usually intense subject matter.[25] In an interview for the Saatchi Gallery, Saville commented that she tries to create a balance between abstract and aesthetic effect and realistic depiction of the body in her work.[17]

Saville also sometimes cuts into the layered paint on the canvas. In Plan (1993), which explores themes of plastic surgery, for example, she says "I didn't draw onto the body. I wanted the idea of cutting into the paint. Like you would cut into the body. It evokes the idea of surgery. It has lots of connotations."[14]

In Saville's later works,[when?] she has used graphite, charcoal, and pastel to render overlapping figures.[citation needed] These works are reminiscent of traditional underdrawings and illustrate themes of movement, hybridity, and gender ambiguity.[8]: 24  Saville states, "If I draw through previous bodily forms in an arbitrary or contradictory way...it gives the work a kind of life force or Eros. Destruction, regeneration, a cyclic rhythm of emerging forms".[8]: 21–22 

Subject matter

[edit]

The primary subject of Saville's works are the female nude and figuration, with the majority of all of Saville’s early works being the artist herself, and having almost exclusively painted female subjects since.[18] Her works often "depict distorted, fleshy, and disquieting female bodies" to provoke the viewer.[26] "I paint flesh because I'm human", she has said. "If you work in oil, as I do, it comes naturally. Flesh is just the most beautiful thing to paint."[26]

Saville seeks to break down the social conventions that encourage women to fit into limiting beauty standards, having expressed issues regarding the prevalence of generally accepted standards of beauty: "A lot of women [are] made to fear their own excess, taken in by the cult of exercise, the great quest to be thin. The rhetoric used against obesity makes it sound far worse than alcohol or smoking, yet they can do you far more damage".[27] In this vein she has also looked at plastic surgery in her work, for example, in Plan (1993), which shows the marks made on a body before having liposuction done.[14]

Saville plays upon the "ambiguity of embodiment" and what it means to be "feminine" or "beautiful" through the use of the distortion and "disgust".[26] Gallerist Asana Greenstreet commented that Saville performs "explorations of people that are both intimate and uncomfortable. Through detailed, frank and unapologetic investigations of the human body, dialogues occur between past and present, and are animated by questions of gender, suffering, and ambiguity."[28] This "aesthetic of disgust" frequently pushes viewers to view and confront conceptions of women in Western society, giving some the autonomy to decide their own standard of beauty beyond this.[26] Michelle Meagher writes that Saville sees standards of "beauty and pleasure [as] deeply embedded within Western [culture]", yet, she constantly tries to challenge these assumptions of the body and beauty.[26] Scholars like Loren Erdrich argue there is a direct link between the physical body, identity, and the self presented within Saville's subjects.[29] Suzie Mackenzie of The Guardian described Saville's work as frankly describing the disparity between the way women are perceived and the way that they feel about their bodies."[30]

After having children, Saville's subjects and methods opened up, though still revolve around the depiction of bodies. Her references expanded to include motherhood, art history, and ancient myth.[31] Saville’s work has been read as directed against the fantasy that humans can be the complete authors of their lives.[5]: 8–9 

Influences

[edit]

Saville partially credits her artistic interest in big bodies to the works of Pablo Picasso.[32]

From the beginning of her career, Saville has engaged in the exploration of the body and its historical representation.[9] Saville borrows conventions from a long tradition in figure painting, including using poses borrowed from Madonna and Child paintings by Leonardo da Vinci, as well as techniques associated with other male masters to create portraiture from a female point of view, and referencing a wide range of other art historical sources including antique and Hindu sculpture, to Renaissance drawing and painting, to the work of modern artists such as Henri Matisse, Willem de Kooning, and Pablo Picasso.[9][33] Her views on beauty expand the traditional nude form into a way to comment on the body, gender politics, sexuality, and self-realisation.

Saville has created exhibitions of work directly inspired by historical artists and artworks. In 2016, her solo exhibition Jenny Saville Drawing: A Contemporary Response to Drawing in Venice, at the Ashmolean Museum in Oxford, was the final section of the Titian to Canaletto: Drawing in Venice exhibition, where twenty new works on paper and canvas were produced in response to the Venetian drawings in the exhibition.[34] In the same year, her show Erota at London's Gagosian Gallery showed drawings also inspired by this exhibition.[35]

Awards

[edit]

Saville has been nominated and awarded several honours and prizes including:

Exhibitions

[edit]

Solo

[edit]
Year Title Venue Location Notes Ref.
1999 Territories Gagosian Gallery New York [36]
2003 Migrants [37]
2005 Jenny Saville Museo d'Arte Contemporanea Roma Rome [9]
2010 Jenny Saville: Reproduction Drawings Gagosian Gallery London Works on paper [38]
2011 Continuum New York [39]
2012 Jenny Saville Norton Museum of Art West Palm Beach, Florida Part of Norton's RAW (Recognition of Art by Women) series
Jenny Saville Modern Art Oxford Oxford [40][41]
2014 Oxyrhynchus Gagosian Gallery London [42]
2016 Jenny Saville Drawing: A Contemporary Response to Drawing in Venice Ashmolean Museum Oxford Drawings inspired by Titian to Canaletto: Drawing in Venice exhibition. [34]
2016 Erota Gagosian Gallery London [35]
2018 Ancestors New York [43][44]
Jenny Saville George Economou Collection Athens [45]
2020 Elpis Gagosian Gallery New York [46]
2021 Jenny Saville Museo Novecento Florence [9]
Museo degli Innocenti
Museo di Casa Buonarroti
Museo di Palazzo Vecchio
Museo dell’Opera del Duomo
2022 Latent Gagosian Gallery Paris [47]
2023 Ekkyklema Gagosian Gallery London [48]
2025 Jenny Saville: The Anatomy of Painting National Portrait Gallery London [49]
Modern Art Museum of Fort Worth Fort Worth, Texas [50]
Jenny Saville: Gaze Albertina Museum Albertina, Vienna [51]
2026 Jenny Saville a Ca’ Pesaro, 2026 Venice Biennale International Gallery of Modern Art Venice [52][53][54]

Group

[edit]
Year Title Venue Location Notes Ref.
1990 Van Gogh Self Portrait Competition Burrell Collection Glasgow [9]
Contemporary View 90 Royal College of Art London
BP Portrait Award Exhibition National Portrait Gallery
1991
1992 RSA Students’ Exhibition 1992 Royal Scottish Academy Edinburgh
New Generation Compass Gallery Glasgow
Critics’ Choice Cooling Gallery London
1994 Young British Artists III Saatchi Gallery
An American Passion: The Susan Kasen Summer and Robert D. Summer Collection of Contemporary British Painting McLellan Galleries Glasgow
Royal College of Art London
1995 The Continuing Tradition: 75 Years of Painting Glasgow School of Art Glasgow
1996 Bad Blood Glasgow Print Studio
Galleri Art-On Halmstad, Sweden
Contemporary British Art '96 Kalmar Konstmuseum Stockholm
A Collaboration Pace/McGill Gallery New York In collaboration with Glen Luchford
1997 Sensation Royal Academy of Art London
Hamburger Bahnhof Berlin
Brooklyn Museum of Art New York
From the Interior: Female Perspectives on Figuration Ferens Gallery Hull
Kingston University London
Oldham Art Gallery Oldham
Derby Art Gallery Derby
University of Brighton Gallery Brighton
Hot Bath Gallery Bath
British Figurative Art. Part 1: the Human Figure Flowers East Gallery London
1998 Close Echoes—Public Bodies and Artificial Space City Gallery Prague
Kunsthalle Krems Austria
Extensions: Aspects of the Figure Joseloff Gallery, University of Hartford Connecticut
The Ugly Show Leeds Metropolitan University Gallery Leeds
The Long Gallery, South Hill Park Arts Centre Bracknell
1999 The Nude in Contemporary Art Aldrich Museum of Contemporary Art Connecticut
2000 Solutus Gallery Faurschou Copenhagen
Painting the Century: 101 Masterpieces, 1900–2000 National Portrait Gallery London
Ant Noises Saatchi Gallery
Ant Noises 2
2001 Les volupté Borusan Gallery Istanbul
Narcissus National Gallery of Scotland Edinburgh
Great British Paintings from American Collections: Holbein to Hockne Yale Center for British Art New Haven, Connecticut
Naked since 1950 C&M Arts New York
2002 The Nude in 20th Century Art Kunsthalle Emden Emden
Closed Contact Gagosian Gallery Beverly Hills In collaboration with Glen Luchford [15]
The Physical World: An Exhibition of Painting and Sculpture New York [55]
Women Eyestorm Gallery London [9]
Art, Age and Gender: Women Explore the Issue Orleans House Gallery Twickenham
Usher Gallery Lincoln
New Greenham Arts Newbury, Berkshire
2003 Pittura/Painting: From Rauschenberg to Murakami, 1964–2003, 50th Venice Biennale Museo Correr Venice
Witness: Theories of Seduction Dorsky Gallery Long Island City, New York
2004 Drawings Gagosian Gallery London [56]
Galleon and Other Stories Saatchi Gallery [9]
Open House: Working in Brooklyn Brooklyn Museum of Art New York
SITE Sante Fe’s Fifth International Biennial: Disparities and Deformations: Our Grotesque SITE Santa Fe, New Mexico
Large Scale Polaroids by Jenny Saville and Glen Luchford University of Massachusetts Amherst, East Gallery Massachusetts
Summer Exhibition Royal Academy of Arts London
2005 The Figure In and Out of Space Gagosian Gallery New York [57]
Il Male. Esercizi di Pittura Crudele Pallazina di Caccia di Stupinigi Turin [9]
London Calling: Y(oung) B(ritish) A(rtists) criss-crossed Kaare Berntsen Galleri Oslo
Self-portraitBritish Art National Portrait Gallery London
Art Gallery of New South Wales Sidney
2006 British Art Thomas Gibson Fine Art London
Damien Hirst, David Salle, Jenny Saville: The Bilotti Chapel Museo Carlo Bilotti Rome
ERETICA-L’arte contemporanea dalla trascedenza al profano Palazzo di Sant’Anna Palermo
RADAR: Selections from the Collection of Vicki and Kent Logan Denver Art Museum Denver, Colorado
2007 Berlinde de Bruyckere, Jenny Saville, Dan Flavin Kunstmuseum Luzern Lucerne
Insight? Gagosian Gallery, Barvikha Luxury Village Moscow [58]
Summer Show Gagosian Gallery New York [59]
2009 Paint Made Flesh Frist Center for the Visual Arts Nashville [9]
The Phillips Collection Washington DC
Memorial Art Gallery, University of Rochester New York
2010 Crash: Homage to JG Ballard Gagosian Gallery London [60]
Flesh Galerie Sophie Scheidecker Paris [9]
2011 Gagosian Pop-Up! Gagosian Gallery London [61]
Eroi Galleria d’Arte Moderna Turin [9]
Summer Exhibition Royal Academy of Arts London
2014 Egon Schiele - Jenny Saville Kunsthaus Zürich Zürich
2015 Rubens and His Legacy: Van Dyck to Cézanne Royal Academy of Arts London
2016 Desire Moore Building Miami
Nude: From Modigliani to Currin Gagosian Gallery New York [62]
Her Crowd: New Art by Women from Our Neighbors’ Private Collections Bruce Museum Greenwich, Connecticut [9]
2017 From Life Royal Academy of Arts London
Drawing Together Courtauld Gallery
2018 Bacon, Freud, and the School of London Painters Hungarian National Gallery Budapest
Now Scottish National Gallery of Modern Art Edinburgh During the Edinburgh Art Festival [63]
2019 The Aerodrome: An exhibition dedicated to the memory of Michael Stanley Ikon Gallery Birmingham [9]
Visions of the Self: Rembrandt and Now Gagosian Gallery London [64]
An Exhibition for Notre-Dame Paris [65]
2020 Bodyscapes Israel Museum Jerusalem [9]
Butes de Femmes: Busts of Women: Paris 10th Anniversary Exhibition Gagosian Gallery Paris [66]
Person of Interest Sheldon Museum of Art, University of Nebraska Lincoln, Nebraska [9]
Portraying Pregnancy: From Holbein to Social Media Foundling Museum London
Inspiration: Iconic Works National Museum Stockholm
Ateneum, Finnish National Gallery Finland
2021 Hi Woman! La notizia del futuro Museo di Palazzo Pretorio Prato
Hong Kong Exchange Gagosian Gallery Hong Kong [67]
The Human Body Hill Art Foundation New York [9]
2022 Haunted Realism Gagosian Gallery London [68]
2006 Museo Carlo Billoti Rome

Collections

[edit]

Saville's work is in several public collections including:

Commercial use of work

[edit]

Album covers

[edit]

Saville's paintings have appeared on two album covers:

  • 1994 – Strategy (South Face/Front Face/North Face) appeared on the cover of Manic Street Preachers' third album The Holy Bible.[69]
  • 2009 – Stare (2005) was used for Manic Street Preacher's 2009 album Journal for Plague Lovers.[70] UK supermarkets stocked the CD in a plain slipcase, after the cover was deemed "inappropriate".[70] The band's James Dean Bradfield said the decision was "utterly bizarre and commented,: "You can have lovely shiny buttocks and guns everywhere in the supermarket on covers of magazines and CDs, but you show a piece of art and people just freak out".[70] The album cover art was placed second in a 2009 poll for Best Art Vinyl.[71]

Other activities

[edit]

Personal

[edit]

Saville lives and works in Oxford, UK.[9]

References

[edit]
  1. 1 2 Grant, Catherine M. (2017). Jenny Saville. doi:10.1093/gao/9781884446054.article.T096964. ISBN 978-1-884446-05-4. Retrieved 21 October 2022.
  2. 1 2 Royal Academy of Arts: Jenny Saville RA | Artist | Royal Academy of Arts Archived 18 December 2014 at the Wayback Machine, accessdate: 29 August 2014
  3. 1 2 When Alan Yentob Met Jenny Saville. Retrieved 2 April 2026 – via BBC.
  4. 1 2 "Jenny Saville". Gagosian Gallery. Archived from the original on 23 December 2012. Retrieved 15 December 2012.
  5. 1 2 3 Schama, Simon (2005). Jenny Saville. New York, NY: Rizzoli International Publications Inc. ISBN 978-0-8478-2757-2.
  6. 1 2 3 4 Cohen, Alina (11 October 2018). "Jenny Saville Changed the Way We View the Female Form". Artsy. Retrieved 29 February 2020.
  7. 1 2 3 Freeman, Nate (6 October 2018). "Jenny Saville Is Now the World's Most Expensive Living Female Artist". Artsy. Retrieved 9 March 2019.
  8. 1 2 3 Calvocoressi, Richard (2018). Jenny Saville. New York: Rizzoli International Publications. ISBN 9780847862900.
  9. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 "Jenny Saville". Gagosian. 28 September 2025. Retrieved 7 September 2026.
  10. ↑ Grey, John (2005). Saville. New York: Rizzoli. p. 124. ISBN 0847827577.
  11. ↑ "SAVILLE, Jenny". Benezit Dictionary of Artists. Oxford Art Online. Oxford University Press. Web. 24 September 2015. <http://www.oxfordartonline.com/subscriber/article/benezit/B00300069>.
  12. ↑ "Jenny Saville Biography, Works of Art, Auction Results – Invaluable". Invaluable.com.
  13. ↑ Schama, Simon. "Jenny Saville". The Saatchi Gallery, 2005. Retrieved on 6 February 2008.
  14. 1 2 3 "Gallery of the Work of Jenny Saville". Employees.oneonta.edu. Retrieved 17 February 2013.
  15. 1 2 3 "Jenny Saville & Glen Luchford: Closed Contact, Beverly Hills, January 12–February 9, 2002". Gagosian. 1 August 2019. Retrieved 7 September 2026.
  16. ↑ "Jenny Saville & Glen Luchford: Closed Contact, Beverly Hills, January 12–February 9, 2002". Gagosian. 1 August 2019. Retrieved 17 May 2026.
  17. 1 2 "Jenny Saville – Artist's Profile". The Saatchi Gallery. Retrieved 29 February 2020.
  18. 1 2 "The Groundbreaking Self-Portrait That Launched Jenny Saville's Career". Sotheby's. Archived from the original on 4 February 2019.
  19. ↑ Network, Artnet Gallery (5 March 2024). "5 Quick Takeaways From the Artnet Intelligence Report". Artnet News. Retrieved 9 March 2024.
  20. 1 2 "Jenny Saville". Gagosian. 12 April 2018. Retrieved 29 February 2020.
  21. ↑ Kenny Smith (26 March 2018), Jenny Saville’s work is put in the frame in Scotland Scottish Field.
  22. ↑ Hudson, Mark (24 June 2014). "Jenny Saville: 'I like the down and dirty side of things'". The Telegraph. Retrieved 6 August 2019.
  23. ↑ Cooke, Rachel (9 June 2012). "Jenny Saville: 'I want to be a painter of modern life, and modern bodies'". The Guardian. London.
  24. ↑ "A conversation with Rubens: Tim Marlow interviews Jenny Saville RA | Royal Academy of Arts". www.royalacademy.org.uk. Retrieved 20 April 2026.
  25. 1 2 Robinson, Hilary, "Approaching Painting through Feminine Morphology", "Paragraph 25, no. 3", 2002
  26. 1 2 3 4 5 Meagher, Michelle (2003). "Jenny Saville and a Feminist Aesthetics of Disgust". Hypatia. 18 (4): 23–41. doi:10.1111/j.1527-2001.2003.tb01411.x. ISSN 0887-5367. S2CID 145427602.
  27. ↑ Hunter Davies (1 March 1994), "This is Jenny and this is her plan", Independent.
  28. ↑ Asana Greenstreet (3 July 2012), "Jenny Saville at Modern Art Oxford", Aesthetica Magazine.
  29. ↑ Erdrich, Loren, "I Am a Monster: The Indefinite and the Malleable in Contemporary Female Self-Portraiture", Circa, no. 121, 2007, doi:10.2307/25564831.
  30. ↑ Suzie Mackenzie (22 October 2005), "Under the skin", The Guardian.
  31. ↑ "Jenny Saville Paintings, Bio, Ideas". The Art Story. Retrieved 1 May 2026.
  32. ↑ "Jenny Saville Biography Archived 13 March 2008 at the Wayback Machine". Artbank.com. Retrieved on 5 February 2008.
  33. ↑ "Jenny Saville Paintings, Bio, Ideas". The Art Story. Retrieved 29 February 2020.
  34. 1 2 "Ashmolean Museum exhibition Titian to Canaletto Jenny Saville Drawing". Ashmolean website. Retrieved 21 October 2015.
  35. 1 2 "Jenny Saville – April 14 – July 9, 2016". Gagosian. Archived from the original on 5 October 2016. Retrieved 5 October 2016.
  36. ↑ "Jenny Saville: Territories, Wooster Street, New York, October 2–November 6, 1999". Gagosian. 2 September 2018. Retrieved 7 September 2026.
  37. ↑ "Jenny Saville: Migrants, 555 West 24th Street, New York, April 5–May 3, 2003". Gagosian. 14 September 2020. Retrieved 2 April 2026.
  38. ↑ "Jenny Saville, Davies Street, London, April 15–May 15, 2010". Gagosian. 1 October 2018. Retrieved 7 September 2026.
  39. ↑ "Jenny Saville: Continuum, 980 Madison Avenue, New York, September 15–October 22, 2011". Gagosian. 11 September 2018. Retrieved 7 September 2026.
  40. ↑ "Exhibition of the week: Jenny Saville, Modern Art Oxford - review". Evening Standard. 23 August 2012. Retrieved 21 October 2015.
  41. ↑ "Modern Art Oxford website shop exhibition poster Jenny Saville 2012". Archived from the original on 6 March 2022. Retrieved 21 October 2015.
  42. ↑ "Jenny Saville: Oxyrhynchus, Britannia Street, London, June 13–July 26, 2014". Gagosian. 2 September 2018. Retrieved 7 September 2026.
  43. ↑ "Jason Rosenfeld, Jenny Saville: Ancestors | Gagosian Gallery". brooklynrail.org. 5 June 2018. Retrieved 23 July 2018.
  44. ↑ "Jenny Saville: Ancestors, West 21st Street, New York, May 3–July 23, 2018". Gagosian. 2 September 2018. Retrieved 2 April 2026.
  45. ↑ "Jenny Saville". The George Economou Collection. Retrieved 2 April 2026.
  46. ↑ "Jenny Saville: Elpis, 980 Madison Avenue, New York, November 12–December 22, 2020". Gagosian. 11 February 2021. Retrieved 7 September 2026.
  47. ↑ "Jenny Saville: Latent, rue de Castiglione, Paris, October 17–December 22, 2022". Gagosian. 7 December 2022. Retrieved 7 September 2026.
  48. ↑ "Jenny Saville: Ekkyklema, Davies Street, London, November 30, 2023–February 10, 2024". Gagosian. 5 April 2024. Retrieved 7 September 2026.
  49. ↑ "Jenny Saville: The Anatomy of Painting - National Portrait Gallery". www.npg.org.uk. Retrieved 19 June 2025.
  50. ↑ "Jenny Saville: The Anatomy of Painting | Modern Art Museum of Fort Worth". www.themodern.org. Retrieved 18 October 2025.
  51. ↑ "Jenny Saville". The ALBERTINA Museum Vienna. Retrieved 19 November 2025.
  52. ↑ "Jenny Saville a Ca' Pesaro | Museum Exhibitions | News". Gagosian. 2 April 2026. Retrieved 2 April 2026.
  53. ↑ George Nelson (13 November 2025). "Jenny Saville's 2026 Solo Exhibition in Venice will Be Her Fourth Museum Show in 18 Months". ART News.
  54. ↑ "Exhibition. Jenny Saville a Ca' Pesaro". Ca' Pesaro. Retrieved 28 March 2026.
  55. ↑ "The Physical World: An Exhibition of Painting and Sculpture, 980 Madison Avenue, New York, May 9–June 29, 2002". Gagosian. 26 October 2021. Retrieved 7 September 2026.
  56. ↑ "Drawings, Heddon Street, London, January 29–March 27, 2004". Gagosian. 20 May 2020. Retrieved 7 September 2026.
  57. ↑ "The Figure In and Out of Space, 555 West 24th Street, New York, June 4–July 29, 2005". Gagosian. 2 September 2018. Retrieved 7 September 2026.
  58. ↑ "Insight?, Barvikha Luxury Village, Moscow, October 19–28, 2007". Gagosian. 20 May 2020. Retrieved 7 September 2026.
  59. ↑ "Summer Show, 555 West 24th Street, New York, June 26–August 17, 2007". Gagosian. 2 September 2018. Retrieved 7 September 2026.
  60. ↑ "Crash: Homage to JG Ballard, Britannia Street, London, February 11–April 1, 2010". Gagosian. 2 December 2020. Retrieved 7 September 2026.
  61. ↑ "Gagosian Pop-Up!, Davies Street, London, December 2, 2010–January 29, 2011". Gagosian. 12 September 2018. Retrieved 7 September 2026.
  62. ↑ "Nude: From Modigliani to Currin, 980 Madison Avenue, New York, September 20–November 19, 2016". Gagosian. 20 May 2020. Retrieved 7 September 2026.
  63. ↑ Sawa, Dale Berning (25 March 2018). "Tacita Dean and Jenny Saville lead strong female presence at Edinburgh art festival". The Guardian. Retrieved 30 March 2018.
  64. ↑ "Visions of the Self: Rembrandt and Now, Grosvenor Hill, London, April 12–May 18, 2019". Gagosian. 27 May 2024. Retrieved 7 September 2026.
  65. ↑ "An Exhibition for Notre-Dame, rue de Ponthieu, Paris, June 11–July 27, 2019". Gagosian. 14 August 2019. Retrieved 7 September 2026.
  66. ↑ "Bustes de Femmes: Paris 10th Anniversary Exhibition, rue de Ponthieu, Paris, October 10–December 18, 2020". Gagosian. 15 February 2024. Retrieved 7 September 2026.
  67. ↑ "Hong Kong Exchange, Hong Kong, January 28–April 30, 2021". Gagosian. 16 January 2025. Retrieved 7 September 2026.
  68. ↑ "Haunted Realism, Grosvenor Hill, London, June 9–August 26, 2022". Gagosian. 23 March 2023. Retrieved 7 September 2026.
  69. ↑ Middles, Mick. "Manic Street Preachers". London: Omnibus Press, January 2000. p.136. ISBN 0-7119-7738-0
  70. 1 2 3 "Supermarkets cover up Manics CD". BBC. 14 May 2009. Retrieved 2 April 2026.
  71. ↑ "Best Art Vinyl 2009 Winners". Art Vinyl. Archived from the original on 6 January 2010. Retrieved 1 November 2010.
  72. ↑ Daniel Cassady (16 November 2022), Gagosian Forms Star-Studded Board of Directors, Offering a Glimpse at the Gallery’s Future ARTnews.

Sources

[edit]
  • Jenny Saville, Organized by Cheryl Brutvan, Texts by Cheryl Brutvan and Nicholas Cullinan, Norton Museum of Art, West Palm Beach, Florida, 2011.
[edit]
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