Jenny saville and the theatre of self-importance: Alexander Adams examines the reputation of one of the original young British artists

Branded, one of Saville’s earliest pictures, painted in 1992, fetched £1,497,250, double its low estimate, when sold at Christie’s

Most YBAs achieved prominence by recasting genuine avant-garde art in a palatable commercial form, influenced by advertising and pop culture, and served up to a credulous public largely ignorant of the original sources of the art. (Something Julian Stallabrass discusses in his book High Art Lite.) Jenny Saville was seen as one exception by virtue of the facts she studied in Glasgow, not Goldsmith’s College, and painted figures representationally in a non-ironic manner. Yet on closer study, Saville is not dissimilar to her YBA peers. Since paintings were acquired from her college studio,  Saville’s paintings have changed from billboard Lucian Freuds to hybrids of Freud, Bacon and de Kooning. Her painting rests upon adapting recent art and presenting it in a more extreme form (larger than that by the original artists), shorn of the original art’s foundations and complex origins, just as the art of other YBAs does.

The paintings have been described as “monumental” by writers who cannot differentiate between monumental and big. Likewise, painting something from a very close viewpoint (a Saville tic) does not convey monumentality or help us comprehend the mass of a figure.  Monumentality has nothing to do with size; it has do with the impression of size,