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From East to West it stretches one hundred and fifty leagues, or of english miles foure hundred and fifty; from North to South nintie leagues, or two hundred and seventie miles: the midland is for the most Asia kays naked mountainous and ill peopled; the marittim low, and populous: the first is windy, but conducing to health; the latter marish, and insalubrious. Bantam is under Antartick declination or latitude, 6 degr. The lavan Kings are five, Viceroys I might better call them; foure of them are subordinate to the Mattaran's command, who is able to bring unto the field desperate slaves, black, but valiant: they have small order or pollicy in warre; yet dare attempt any thing, they are so forward. The climate burnes so fiercely, that little apparell pleases them; most, goe most part naked: they use lances, darts, arrowes, and shields; but their sole braverie is in their crizes; a weapon, commonly two foot long, broad, waved, sharp edgd, and small pointed; but against the lawes of Nature, and honour basely poisoned: the hilt or handle is usually of wood or horne, some have them of gold, silver, and Ivory cut into the crooked shape or figure of a deformed Pagod; yet were they a thousand times more ugly, these savages would dare to adore them; especially, in that they aske the Idoll on their creast pardon, after they have perpetrated homycide or such like villany; a trick us'd by Lewes the eleventh to the Crucifixe in's hat, to his eternall infamy. But in the Lord shall all true beleevers bee justified and shall glory.

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What were those fears then? I think all the time about how to use this language of paint to get as much emotion as I can. Jenny Saville Through Feb. I think people see you less seriously.

You would never put that on a male artist. But your recent work is full of these enormous and surprisingly beautiful portraits of faces. Her sightless eyes have so much expression to them.

But as well as old masters like Michelangelo, you have modern influences, too. Most artists start with a figurative structure and then abstract from there, but I start by creating abstract areas of paint as the foundation, and then build figuration on top and let the abstraction show through in places — the same way Michelangelo would build a form from rough marble.

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She had this strength, because she knew everybody stared at her, so I wanted to get in that space. Italy is a country of figuration, so I feel very at home here — but it was intimidating. I find that very powerful. Why would I feel hesitant?

The moment I put eyes on something, it seems that the world coalesces in the painting, because humans are just drawn to eyes. Yeah, I was using color like never before.

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I had a debate with myself about whether I should reveal motherhood as a subject in my work. It was a great lesson for me at that time.

The conversation has been edited for length and clarity. The vulnerability of the body is a theme you returned to again and again. And giving birth was like a Francis Bacon painting, you know. I spent my life painting flesh, and then suddenly I was making flesh in my body.

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I had to work even more at those eyes, because they had to really speak. I love to start by dripping a lot of acrylic, and you see through the drips, so you get this kind of inner light. Everyone worries about social media, but actually, my kids are way smarter than I was at that age. So I just did the work, put it out and grew from there.

Then I started to do direct studies of the sculpture, and I saw how the internal torque of the bodies worked. I think it was a sort of resistance to the disease. I look at artists like Twombly, Pollock, Rothko and de Kooning — all the New York School that used paint as a poetic language in itself — and try to channel some of those things into figurative work.

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Your children are now young teens living in a world shaped by social media. Is it because I think it could affect my career?

Running through Feb. Her work reflects the grand ambitions of Renaissance masters, yet against their sensual, divine nudes, Saville presents images of fleshy, earthly women, sometimes with bruised or ruptured skin — not the body beautiful, but the suffering, anxious and impermanent body. How does it feel to see your own works side-by-side with Renaissance masterpieces?

Now I hear my kids talking about gender fluidity. Yet then when the pandemic was making all of us face up to how vulnerable we are to death, you were making really colorful paintings, some of which are included in this show here in Florence.

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I do that about every other subject. Earlier in your career, you were painting a lot of these massive, obese bodies, which in many ways were reminiscent of meat. So I always work with that in mind.