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Paperback edition of a highly aclaimed 1990 monograph which was the first full study of the artist's work, with 254 illustrations, 174 in duotone and 80 in colour. Auerbach himself selected the paintings for the book as representing the most important of his career. The author is a well-known writer, critic and television presenter and art critic of TTime' magazine. Previous books include TThe Shock of the New' and TThe Fatal Shore'.
Includes essays on the figurative painter's energetic, brilliantly colored landscapes & portraits that recall the Old Masters.
Frank Auerbach was one of the most influential British painters of the 20th century, renowned for his distinct approach to portraiture and landscape painting. His works, often marked by expressive brushstrokes and dense layers of paint, have garnered a reputation for their intense emotional depth and raw, visceral power. Over the decades, Auerbach's art has consistently challenged viewers and critics alike, forcing them to confront the complexities of the human experience, memory, and the act of painting itself. Born in 1931 in Berlin, Auerbach's early years were marked by turbulence and displacement, with his family fleeing Nazi Germany when he was just a child. This period of upheaval, along with the experiences of the Second World War, would deeply influence his artistic development. Arriving in London as a young boy, Auerbach immersed himself in the city's vibrant and diverse art scene, which would provide him with the fertile ground in which his unique vision could flourish. From the very beginning of his career, Auerbach focused on capturing the human form and the urban environment. His works often feature portraits of friends, family, and other sitters, but also the landscapes and cityscapes of London, particularly the areas around Camden Town, where he lived and worked. These subjects became not only his aesthetic preoccupation but also his means of engaging with the world around him. For Auerbach, painting was never simply about representing reality; it was about translating the lived experience of that reality, distilling its raw emotion and essence into the physicality of paint. One of the key characteristics of Auerbach's work is the way he manipulates paint. His canvases are often thickly layered, with marks and textures that suggest the artist's relentless struggle to capture an image. Auerbach's brushstrokes are bold and assertive, creating a sense of urgency and movement. This physicality in his process reflects his deep connection to the act of painting and the time spent with his subjects, a practice that is central to his method. Auerbach has said that his work is always about "searching" – a continuous process of exploration where the final image never fully resolves but instead remains in a state of flux, much like human experience itself. In this eBook, we will explore the multifaceted nature of Auerbach's artistic journey. From his early exposure to art in London to his years of refining his techniques and pushing boundaries, we will dive into the major themes that have defined his career. We will also examine his relationship with the artistic movements of his time, the influence of Expressionism, and the critical reception of his work. Most importantly, we will consider how Auerbach's art continues to resonate today, offering insights into the complexities of memory, identity, and time. Through Auerbach's relentless pursuit of truth through paint, his work transcends the personal to touch on universal themes of struggle, identity, and transformation. As you read further into this book, you will gain a deeper understanding of what makes Auerbach's art so significant and lasting. Whether you are an established art lover or a newcomer to his work, this exploration will invite you to see the world through his eyes—eyes that have witnessed both the trauma of the 20th century and the perseverance of the human spirit.
Martin Gayford’s masterful account of painting in London from the Second World War to the 1970s, illustrated by documentary photographs and the works themselves The development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley. Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint.
“An extraordinary record of a great artist in his studio, it also describes what it feels like to be transformed into a work of art.” —ARTnews Lucian Freud (1922-2011), widely regarded as the greatest figurative painter of our time, spent seven months painting a portrait of the art critic Martin Gayford. The daily narrative of their encounters takes the reader into that most private place, the artist’s studio, and to the heart of the working methods of this modern master—both technical and subtly psychological. From this emerges an understanding of what a portrait is, but something else is also created: a portrait, in words, of Freud himself. This is not a biography, but a series of close-ups: the artist at work and in conversation at restaurants, in taxis, and in his studio. It takes one into the company of the painter for whom Picasso, Giacometti, and Francis Bacon were friends and contemporaries, as were writers such as George Orwell and W. H. Auden. The book is illustrated with many of Lucian Freud’s other works, telling photographs taken by David Dawson of Freud in his studio, and images by such great artists of the past as van Gogh and Titian who are discussed by Freud and Gayford. Full of wry observations, the book reveals the inside story of how it feels to pose for a remarkable artist and become a work of art.
Analysis of Swiss sculptor Alberto Giacometti alongside German British painter Frank Auerbach.
The Rijksmuseum and Ordovas are staging a unique joint exhibition in the autumn, centred around paintings and etchings by Rembrandt (1606–1669) on loan from the collection of the Rijksmuseum, in conversation with paintings by Frank Auerbach (b. 1931). The exhibition brings together a striking group of landscapes and portraits by Rembrandt Harmensz. van Rijn, and Frank Auerbach, the renowned British artist. Frank Auerbach is a painter steeped in tradition and his engagement with the Old Masters, and Rembrandt in particular, is well known and documented. He has been making drawings from, and occasionally producing paintings in response to, the Rembrandts and other Old Masters in the collection of the National Gallery throughout his career, as demonstrated in the 1995 exhibition at the National Gallery, 'Frank Auerbach and the National Gallery: Working after the Masters'.0Exhibition: Ordovas Gallery, London, UK (4.10.-1.12.2013) / Rijksmuseum Amsterdam, the Netherlands (12.12.2013-16.3.2014).
A leading critic’s inside story of “the photo boom” during the crucial decades of the 1970s and 80s When Andy Grundberg landed in New York in the early 1970s as a budding writer, photography was at the margins of the contemporary art world. By 1991, when he left his post as critic for the New York Times, photography was at the vital center of artistic debate. Grundberg writes eloquently and authoritatively about photography’s “boom years,” chronicling the medium’s increasing role within the most important art movements of the time, from Earth Art and Conceptual Art to performance and video. He also traces photography’s embrace by museums and galleries, as well as its politicization in the culture wars of the 80s and 90s. Grundberg reflects on the landmark exhibitions that defined the moment and his encounters with the work of leading photographers—many of whom he knew personally—including Gordon Matta-Clark, Cindy Sherman, and Robert Mapplethorpe. He navigates crucial themes such as photography’s relationship to theory as well as feminism and artists of color. Part memoir and part history, this perspective by one of the period’s leading critics ultimately tells a larger story about the crucial decades of the 70s and 80s through the medium of photography.
"The catalogue records details of the impressions in the collection of the Fitzwilliam Museum, but it also serves as a catalogue raisonné of Auerbach's intaglio prints" --P. 12.