Partially through Saatchi’s patronage but mostly through her prominent use of the classical standard of figure painting and obvious immense skill, Saville predictably thrived and quickly became recognised by the public. Saville has reintroduced and regained figure painting methods in the context of art history through painterly techniques of expressive and intense pieces portraying difficult themes that are essential to tackle in today’s society. Saville is predominantly known for her momentous portraits of large nude women and transgender people, some depicting scars of undergone surgeries with provocative inscribing’s on their skin’s surfaces.For example, Saville’s painting Branded (Figure 1.) created in 1992, here we see an enlarged woman’s body with a self-portrait of Jenny Saville’s head still not fully in frame. The body shows every conventional definition of women’s imperfections, some critics have gone far as to say ‘repulsion, brutalised femininity and abject self-image’ (Schwabsky, 2007). The letters on her skin read words such as: delicate, irrational, petite, supportive and decorative. It could be said that these words are an internal dialogue of Saville’s, a kind of epitomic of the ‘conventional woman’. The woman depicted is seen grasping her folds of skin, in a lovingly gentle manner. However, the woman’s posture is obtrusive making the viewer confront her face on. She is not passive like history has told us women were before her, she does not conform to her predecessors of Ruben’s femme fatal or classical marble structures, instead, she is one in her own to be individually interpreted by the viewer. ‘Saville’s work interrogates our perception of the female body in challenging ways. To use the self in this way is to come full circle in the questioning of fixed identity and the body’.