路西安‧佛洛伊德是被歸屬於倫敦畫派的英國具象藝術家，在一九七○年代發展出獨具個人特色的「裸體肖像畫」，代表佛洛伊德藝術創作的極致，也是最能展現他的藝術理念的畫作系列。佛洛伊德的裸體肖像畫系列，在一九六六年確立基本格式，特色是以率直、詳盡的手法，再現模特兒私密身體的各種姿態；「裸體肖像畫」作為一個繪畫類型，藉由人體的形式，傳達個體獨特的本質，是兼具人物的生理和精神，佛洛伊德結合身／心二元對立的觀念，使人體畫作表現出肖像畫特有的「身分」意識。佛洛伊德的裸體肖像畫系列招致了三種評論：「窺淫的觀看方式」、「負面情緒的氛圍」、「以殘忍冷酷的意念看待人體」，本論文以佛洛伊德的藝術理念和繪畫創作為根據，提出不同的看法：佛洛伊德採用的高視點角度，沒有支配和征服等權力意涵在其中，而是為了在畫面以最大的清晰度表現模特兒，並營造面對面的迫切感給觀者，讓觀者無條件地接受圖像欲傳達的訊息；畫室特殊的隔絕與疏離感，不是對人類的主觀負面心理意象，而是佛洛伊德自我心理企求的表述；佛洛伊德將雷奇‧包爾瑞和蘇‧泰利的身體表現為一種「奇觀」，但無嘲諷和奚落之意，他呈現兩人軀體的嚴肅和莊重，是愛戀身體之意念的展現。最後，佛洛伊德的裸體肖像畫系列，沒有承繼祖父西格蒙‧佛洛伊德的性學理論思想，但就創作模式而言，兩人在研究態度、研究目標、研究方法、研究者與被研究者的關係等四個面向，有共通之處。

一、藝術家本人的發表
“Some Thoughts on Painting”, in: Encounter, vol. 3, no. 1, July 1954, pp. 23-8.
[statement, titled “a Short Text” in contents] “Modern art in Britain”, in: Peppiatt, Michael ed., Cambridge Opinion, no.37, 1963, p.47.
[statement] in: Carnegie International 1985, exhib.cat., Museum of Art, Carnegie Institute, Pittsburgh,1985, p.131.
[statement] in: The Artist’s eye: Lucian Freud: an exhibition of National Gallery paintings selected by the artist, exhib.cat., National Gallery, London, 1987, p.20.

二、專書與展覽目錄
Bernard, Bernard; Birdsall, Derek, Lucian Freud, Introduction by: Bernard, Bernard, “Thinking About Lucian Freud”, New York: Random House, 1996.
Calvocoressi, Richard, From London: Bacon, Freud, Kossoff, Andrews, Auerbach, Kitaj, London: British Council; Edinburgh: Scottish National Gallery of Modern Art, 1995.
Feaver, William, Lucian Freud, Essay by: Feaver, William, “Lucian Freud: Life into Art”, Text by: Auerbach, Frank, “On Lucian Freud”, London: Tate Publishing, 2002.
Gowing, Lawrence, Lucian Freud, London: Thames and Hudson, 1982.
Holborn, Mark ed., Freud at Work, Photographs by Bernard, Bernard; Dawson, David, Conversation by Smee, Sebastian, New York: Alfred A. Knopf., 2006.
Hughes, Robert, Lucian Freud. Paintings, 1987, New York: Thames and Hudson, 2003.
Kitaj, R. B., The Human Clay, London: Arts Council of Great Britain, 1976
Lauter, Rolf ed., Lucian Freud: Naked Portrait. Works From the 1940s to the 1990s, Ostfildern: Hatje Cantz, 2001.
Marden, Brice, “Lucian Freud and His Models”, in: Richardson, John ed., Sacred Monsters, Sacred Masters: Beaton, Capote, Dali, Picasso, Freud, Warhol, and more, New York: Random House, 2001.
Matthew Marks Gallery, Lucian Freud. Recent Drawings and Etchings, Interviewed by: Bowery, Leigh, “Art and Love”, Essay by: Cook, Angus, “Seeing Things”, New York, 1993.
Peppiatt, Michael, A School of London: Six Figurative Painters, London: The British Council, 1987
Russell, John, Lucian Freud, Introduction by: Russell, John, London: Hayward Gallery, 1974.
Smee, Sebastian, Lucian Freud 1996 — 2005, New York: Alfred A. Knopf, 2005.
Stone, Jennifer Arlene, Freud's Body Ego or Memorabilia of Grief: Lucian Freud and William Kentridge, New York: javaribook, 2003.

三、相關文獻
Berger, John, Ways of Seeing, 1972, London: British Broadcasting Corporation; New York: Penguin Books, 1978.
Clark, Kenneth, The Nude: A Study in Ideal Form, 1956, New Jersey: Princeton University Press, 1984.
Compton, Susan ed., British Art in the Twentieth Century: The Modern Movement, London: Royal Academy of Arts, Munich: Prestel-Verlag, 1986.
Dempsey, Amy, Styles Schools and Movements: An Encyclopaedic Guide to Modern Art, London: Thames and Hudson, 2002.
Foucault, Michel, Surveiller et Punir: Naissance de la Prison, Paris: Gallimard, 1975.
Foucault, Michel, The History of Sexuality: VolumeⅠ: An Introduction, 1978, (Hurkey, Robert, Trans), New York: Vintage Books, 1985.
Freud, Sigmund, An Autobiographical Study, (Strachey, James Trans.), 1935, New York: Norton, 1952.
Herberg, Will, “Freud, The Revisionist, and Social Reality”, in: Nelson, Benjamin ed., Freud and the 20th Century, Meridian Books, 1957.
Jullien, François, De l’Essence ou du Nude, Paris: Éditions du Seuil, 2000.
Kitaj, R. B., Sandra/Two, New York; London: Marlborough Gallery, 1996.
Meecham, Pam; Sheldon, Julie, ‘The Nude in Modernity and Postmodernity’, in: Modern Art: A Critical Introduction, London: Routledge, 2000.
Muckenhoupt, Margaret, Sigmund Freud: Explorer of the Unconscious, New York: Oxford University Press, 1997.
Mulvey, Laura, “Visual Pleasure and Narrative Cinema”, in: Visual and Other Pleasures, Bloomington and Indianapolis: Indiana University Press, 1989.
Nead, Lynda, The Female Nude: Art, Obscenity, and Sexuality, London; New York: Routledge, 1992.
Neumann, Erich, The Great Mother: An Analysis of the Archetype, (Manhein R. Trans.), New Jersey: Princeton University Press.
Pearsall; Judy; Patrick, Hanks, eds., The New Oxford Dictionary of English, Oxford: Clarendon Press, 1998.
Schneider, Norbert, The Art of the Portrait: Masterpieces of European Portrait-Painting, 1420-1670, Koln: Benedikt Taschen, 1994.
Trumble, William R; Stevenson, Angus; Brown, Lesley eds., Shorter Oxford English Dictionary on Historical Principles, vol. 2, 5th ed., 1993, Oxford; New York: Oxford University Press, 2002.
Webb, Vevienne ed., Take a Bowery: The Art and (larger than) Life of Leigh Bowery, Sydney: Museum of Contemporary Art, 2004.
West, Shearer, Portraiture, Oxford; New York: Oxford University Press, 2004.

四、期刊論文
Bowery, Leigh, “Art and Love” (Interview), in: The Independent Magazine, 11 January 1992, pp. 34-36.
Feaver, William, “The Artist out of Cage” (Interview), in: The Observer Review, no. 10495, 6 December 1992, pp. 45-46.
Feaver, William, “Body Language”, in: Observer Magazine, 29. Aug. 1993, unpaginated.
Gayford, Martin, “Face Off”, in: Modern Painters, vol. 17, no. 3, Autumn 2004, pp. 96-99.
Hughes, Robert, “The Fat Lady Sings”, in: Time, vol. 142, issue 27, 27 December 1993, pp.74-76.
Loewenberg, Peter , “Lucian and Sigmund Freud”, in: American Imago, vol. 61, no. 1, 2004, pp. 89-99.
Lyttelton, Celia, “Freudian Associations”, in: Art Review, vol. 53, June 2002, pp. 36-42.
Perl, Jed, “Snyder's earth, Freud's skin”, in: New Criterion, vol. 12 issue 6, February 1994
Schjeldahl, Peter, “Naked Punch”, in: The New Yorker, July 8, 2002.

五、中文書目
Barzun, Jacques 著, 鄭明萱譯，《從黎明到衰頹：五百年來的西方文化生活》（From Dawn to Decadence: 1500 to the Present, 500 Years of Western Cultural Life），台北：貓頭鷹出版，2004。
Freud, Sigmund著, 林克明譯，《性學三論‧愛情心理學》（Three Essays on Sexuality Contributions to the Psychology of Love），台北市：志文，1994。
Laplanche, Jean; Pontalis, J.-B. 著, 沈志中，王文基譯，《精神分析辭彙》（Vocabulaire de la Psychanalyse），台北市：行人，2000。
Spargo, Tamsin著, 林文源譯，《傅柯與酷兒理論》（Foucault and Queer Theory 1999），台北市，貓頭鷹出版，2002。
Steiner, Reinhard A.著,〈「無以量度的宏偉」：近代初期巨像雕刻成為藝術的志業與美的典範〉（“smisurata grandezza”: Colossal Sculpture as Artistic Enterprise and Aesthetic Model in Early Modern Times）, in: 曾曬淑 主編，《身體變化：西方藝術中身體的概念和意象》（Changing Bodies: Concepts and Images of the Body in Western Art），台北：南天，2004，頁20-38。
矛鋒，《同性戀文學史》（The History of Homosexual Literature），台北：漢忠文化，1996。
吳光遠，《佛洛伊德》，台北市：海鴿文化，2006。
高宣揚，《佛洛伊德主義》，台北市：遠流，1993。
高宣揚，《佛洛伊德傳》，台北市：久大，1992。
楊明敏，《克萊恩觀點下的男性特質——以弗洛依德的個案「鼠人」為例》，台北市：五南圖書，2000。
劉文潭，《現代美學》，1967，台北市：台灣商務，2000。

六、視聽媒體
Auerbach, Jake (Director), Lucian Freud: Portraits, DVD, London: Jake Auerbach Films Ltd, 2004.
Feaver, William (Interview), Review: Lucian Freud Exhibition at the Hayward Gallery, 7 February 1988, BBC 2.