Jane knew she wanted to be an artist from a young age; playing in a sandpit, and exploring an early interest in constructing forms, she discovered what she later knew to be sculpture. She explained the inevitably of her destiny; ‘making art is like breathing’ and was encouraged by both of her parents, artists Katherine McAdam and Lucian Freud, the renowned British painter.

In fact, growing up surrounded by artists, Jane admitted that as a child, she didn’t know any other profession existed. She recalls painting and drawing on the back of plywood orange crates and stated that her father watched her intently when she drew, and that as a family they ‘communicated through images’.

Jane achieved great success in her lifetime with her unique thinking, as well as her experimental and constantly evolving approach to the creative pursuit. Her contribution to contemporary art and conceptual thinking has been recognised internationally and her work is included in notable private and public collections and exhibited extensively in museum and gallery shows internationally.

Jane was often influenced and inspired by words, as well as psychoanalytic theories passed down through her ancestry, as a way of continuing their legacy. Through her work, she sought to make critical connections between art and psychoanalysis and encouraged discourse on the subject.  Jane wrote about this, including for The American Imigo Journal, which had been founded by Sigmund Freud and Hanns Sachs in 1939, and published by John Hopkins University Press.

Despite Jane’s work being interwoven with her family’s history, she established herself under the name Jane McAdam and earnt respect in her own right from her talent; her practice including sculpture, drawing, painting, print and digital media.

As young Jane McAdam, she went to art college (having her first solo show at 18), completed a Foundation Course at Wimbledon College of Art and took herself to Ravenna to learn the practice of mosaic. Returning to London, she studied, (like both of her parents) at Central School of Art and Design, before an MA at the Royal College of Art, under the guidance of Eduardo Paolozzi, Michael Rowe and John Stezaka. In 1986, Jane was awarded the British Art Medal Scholarship in Rome, studying sculpture at the Accademia di Belle Arti di Roma and at the Scuola d’Arte della Medaglia.

The British Museum recognised her skill at an early age, acquiring an example in 1979, whilst Jane was still a student at the Central. Jane became a Fellow of the Royal Society of British Sculptors in 1997 and on 11 March 1991, was granted the Freedom of the City of London for her contribution to the field of silversmithing as a member of the Goldsmiths’ Company.  For the award, she was asked to present her father’s birth certificate and occupation, which ‘outted’ her ancestry. The press attention that followed was a blessing and a curse – but forced her to embrace her identity, and rediscover her father.

Like her father, Jane was insistent on the importance of prolonged observation. Lucian referred to this process as ‘biological truth-telling’ and Jane admitted to being hugely influenced by him in this respect; ‘He taught me what it meant to really concentrate’. Jane passed on her skill and innovative ideas as Associate lecturer at Central St. Martins (UAL), Visiting lecturer at the Royal College of Art, and Sculpture tutor at Morley College.

“Jane produced the very first medal to be issued by the British Art Medal Society when it was formed in 1982 and over the succeeding decades went on to make some of the most innovative medals to appear in this country. She was always an enlivening presence at BAMS events - forthright in expressing her views, warm in her friendships, and always receptive to new ideas.” Philip Attwood, Curator, former Keeper of Coins and Medals at the British Museum and former President of the British Art Medal Society.

It was the art of medal making that Jane became known for as a young artist. The former Curator of the Goldsmiths’ Company Collection, Rosemary Ransome Wallis, often introduced the subject she called ‘handheld sculpture’, using Jane’s work as the epitome of this artistic response in small- scale.  Jane had a similar affection for the tangibility of these works, referring to them as PUPS, or pick-up-pieces.

Jane was constantly experimenting with both her ideas, and her medium, utilising a variety of techniques and materials to present powerfully emotive themes in innovative and engaging ways. Jane’s technical ability is evident throughout her practice, though she pushed the boundaries of conceptual art later in life, relying more on exploring the ideas surrounding her work than the traditional application of her practical skill.

She was awarded the Trebbia Award for artistic achievement, presented in Prague Castle in 2014 and Jane’s contributions to the medium of sculpture were recognised in a publication from Aurora Metro Books entitled ‘50 Women Sculptors’, in which Jane’s work was placed alongside Louise Bourgeois and Phyllida Barlow.  Jane was a proud advocate for promoting and supporting other women throughout her career.

“Jane McAdam Freud was a distinguished artist, whose portraits were astonishing in their truth and intensity. She was also a leading light in the art of the medal, packing these hand-held sculptures with wit, originality and a sculptor’s love for texture and materiality. She was a long-term friend of the V&A, having donated one of her medals to the collection in 2006, and another on long term loan. It is testament to her generous soul that in her last weeks she found the energy to express the wish that it would join the collection.’ Melanie Vandenbrouck, Curator of Sculpture, V&A London.

In keeping with her interest in art and psychoanalysis, Jane created a base in Příbor, Czech Republic, her great-grandfather Sigmund’s birthplace, in 2008. This home and adjoining gallery have become a centre to recognise and celebrate Jane’s achievements, invite others inspired by her work to contribute to its history, and create conversation about art and psychoanalysis. Her powerful presence, unwavering enthusiasm and important artistic contribution will live on here and in collections around the world, as mementos of her incredible skill and inventive ideas.  

The Estate of Jane McAdam Freud continues to promote Jane’s work and ensure a suitable legacy through residencies, exhibitions and events.