Until the mid 1950's, Freud worked in a tightly focussed style, which he had begun to use at the East Anglian School of Drawing and Painting, run by Cedric Morris. The school was very informal; as Freud said, there was 'No teaching much but there were models and you could work in your own room'. In many ways he worked by trial and error: Landscape with Birds (no. 3, shown in room 1) was an experiment with the kind of enamel paint he thought was used by Picasso. As he said later, 'Learning to paint is literally learning to use paint.' Around 1956 Freud exchanged his finely pointed sable brushes for stiffer hogshair and began to loosen his style, gradually amplifying his touch. Woman Smiling 1959 (no. 45, shown in room 3) marked a transformation in his painting style and can be seen as a landmark work. Also in the late 1950s Freud, who had until then always painted sitting down, began to work standing up. This injected his work with a more athletic, energetic feel. His new approach received a mixed response from critics, some of whom used words like 'shocking', 'violent' and 'affected', but after a transitional phase in the 1960's Freud soon settled into a consistent style. In the mid-1970s, he began using the heavy, granular pigment called cremnitz white, which he has since then reserved for the painting of flesh. As a painter, Freud works extremely slowly and deliberately, wiping his brush on a cloth after every stroke. Great piles of these rags lie on the floor of his studio, and have featured in several of his paintings from late 1980s onwards, such as Lying by the Rags 1989-90 (no. 115, shown in room 6). Often Freud will take several months to complete a painting, and it is not unusual for works to be scrapped in the early stages. He usually has two or three paintings on the go at once, and will work on them in shifts of two or three sessions a day. His working day often starts early in the morning in his top-lit Holland Park studio, and ends in his night studio where he works under artificial light. During the 1980s, Freud began enlarging his canvases, partly to suggest more breathing space around his sitters. Sometimes he would do this during the course of working on a painting, by adding new strips around the edges of canvas; this can be seen in Leigh Bowery (Seated) 1990 (no. 116, shown in room 6). Eventually this led to irregularly shaped works, such as After Cézanne 2000 (no. 145, shown in room 8) and Two Brothers from Ulster 2001, shown in the final room of the exhibition.