This is why Jameson chooses Freudian psychoanalysis as another case study in fragmentation: the rise of psychoanalysis was bound up with the fragmentation of our psyches, which is itself a consequence of the relentless expansion of the capitalist project.

There is something tragic about such noble suffering, that the only way around trauma is through it. This is why the word character - etymologically speaking - is about being etched, marked or carved with lines, as opposed to being free of all blemishes. Musing about the workings of psychoanalysis, the famed British analyst Wilfred Bion described once how “if there aren’t two anxious people in the room, the two being both the therapist and the patient, then there is not much point in turning up to find out what you already know.

Lucian had been remarkably fast out of the starting blocks in his teens and early twenties (the Museum of Modern Art in New York had bought a picture in the 1940s), but then there was a very long period when his paintings sold only to a small number of English people and he enjoyed almost no international recognition. In the early days of their relationship Freud was encouraged by Bacon and eventually he followed his more reckless, free-style approach, abandoning his Germanic tightness of line and fine surfaces.

When my father died she [Lucie] tried to kill herself. She had given up. I actually felt I could finally be with her because she lost interest in me,’ Lucian said. ‘I tried to be unavailable to her when I was young. She was very intelligent and highly observant. I felt oppressed by her because she was very instinctive and I’ve always been very secretive. It was hard to keep things from her. The idea of her knowing what I was doing or thinking bothered me a great deal. So it was a strained relationship.

D’Offay’s relationship with Freud had started in the 1960s through an introduction by a bright young art expert called James Kirkman, the son of a general, who worked for Marlborough Fine Art and looked after Lucian there. Marlborough, part-owned by the Duke of Beaufort, was the most prestigious British contemporary gallery, representing Francis Bacon, Henry Moore and Graham Sutherland, as well as Lucian. But Lucian felt ignored and sidelined compared to his friend Bacon, who in 1962 had a show at the Tate Gallery and was rapidly gaining a global reputation. ‘Lucian was by no means a star then. He was actually thought to be something of a has-been,’ said Kirkman. ‘No one was really interested in figurative art, especially what he did. Pop art and kinetic art was what modern art collectors desired. All that passed Lucian by, making him seem traditional, even old-fashioned, but still with an ability to shock with his raw nudes. He was doing pictures that were considered less attractive, that were not really appealing to anyone. It sounds strange now but that was the reality and how he was received and perceived.