Frank Auerbach (1939)

[LCR]

Frank Auerbach was born in 1939 in Berlin, in a family of Jewish origin. When he was 8 years old, the parents sent him to school in the UK. More than he should never see.
After World War II, Auerbach played small roles in several London theaters. In 1948 he enrolled at Borough Polytechnic Institute, and then - in art school, St. Martin, where he met Leon Kossoff and Phil Holmes. /His teacher was David Bomberg.
In 1952, after his release from the army, Auerbach joined the Royal College of Art. At the same time there studying Leon Lossoff, Bridget Riley and Joe Tilson. In 1954 he bought a studio in London's Camden district. In 1955 he graduated from the Royal College of Art with a medal.

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In 1956 he had his first exhibition in the Gallery of Fine Arts (Beaux Arts Gallery). Around this time he began writing a series of urban landscapes, as well as a series of portraits of Julia Yardley Mills.
In 1978 Britansy Arts Council organized in London, his first retrospective. In 1981 he rpboty were shown at the exhibition "New Spirit of Painting at the Royal Academy. After five years of his work from British painting at the Venice Biennale.
In 1995, he was held his exhibition "Working with Masters" at the National Gallery, where his works were collected over 30 years.
Which opened in 2000, Tate Modern has devoted his works hall. Finally, in 2001 a large retrospective of the artist at the Royal Academy.

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Translation (one of the very rare) interview:

Who or what influenced you most in your youth?

First of all, and most of all influenced me that I realized the horror of work in any office or bank, it gave me the desire to live a free and creative life. Of the writers who were important to me, William Blake, James Carey ... All this has led to what I have decided to force myself to work every day, without exception. Later, in school, I experienced a lot of different influences, such as Paul Klee, Edward Burra, artists, who, as I thought, you can imitate. Still later - Picasso, then - Rembrandt and all virtually the entire history of art.

What matters is whether these effects are still in your work?

Of course, the latter effect is still important. I do not have a solidified opinion, I would rather react to what they saw, but in principle I can be influenced by any of the well-known of the great masters, and not only them, but much less well-known artists as Albert Pinhem Ryder, Gerald Wilde, Antonin Artaud -- I will not continue, the list would be too very long.

At what time of day you work best?

In the mornings and evenings, afternoons often gives good results.

What the artists past and present you most admire?

It is very difficult to answer this question - perpechen again be very long. Rembrendt, Kosteybl, Turner, Titian, Veronese, Velaskuzez, Whistler, Giacometti, Mariss, Leger, Rodin, Michelangelo, Picasso, Mexican and Japanese sculpture, Hogarth, Daumier, Cezanne, Seurat, de Kooning - and generally, any artist who comes to your mind.

do you prefer to work, being alone, or you are willing to write in the presence of people?

I have never worked on people, I just can not. The work requires a very high concentration of nervous. But seven days a week, come to me sitter, and they, of course, are present in my work.

How do you start working on a painting? What do you preparatory drawings, sketches or just embarking on painting, without training?

I do not have a strictly defined method. Before you write your landscape, I make preparatory drawings. When I work with an artist's model, the direct write, but then move that into the work of a lot of changes.

Which of your works are best represents you?

I, you know, a small expert on his work, but I think the pictures are generally more personal, better express the author. Probably I should choose one of my successful designs.

Do you feel that you constantly return to its past?

Yes, of course, but for me it is not "return to the past", it seems to me that in so doing, I go forward.

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Have you ever destroy your own work, or finishing it, and then deciding that you do not like, completely rewriting?

I have to destroy their work each day in the process of their creation. Often I copy the picture, which to me seemed finished, but I would like to see this happen more often.

are critical if you are in relation to your own work or finished work seem worthy of you and do not bother you?

They make me very worried. I find it difficult to consider them finished.

What influenced your latest work, whatever you're writing now?

If we talk about vnehudozhestvennyh influences that must be added to the art, it is - my private life, my health ...

[LCR]

In 1956 he had his first exhibition in the Gallery of Fine Arts (Beaux Arts Gallery). Around this time he began writing a series of urban landscapes, as well as a series of portraits of Julia Yardley Mills.
In 1978 Britansy Arts Council organized in London, his first retrospective. In 1981 he rpboty were shown at the exhibition "New Spirit of Painting at the Royal Academy. After five years of his work from British painting at the Venice Biennale.
In 1995, he was held his exhibition "Working with Masters" at the National Gallery, where his works were collected over 30 years.
Which opened in 2000, Tate Modern has devoted his works hall. Finally, in 2001 a large retrospective of the artist at the Royal Academy.

[LCR]

Translation (one of the very rare) interview:

Who or what influenced you most in your youth?

First of all, and most of all influenced me that I realized the horror of work in any office or bank, it gave me the desire to live a free and creative life. Of the writers who were important to me, William Blake, James Carey ... All this has led to the fact that I decided to force himself to work every day, without exception. Later, in school, I experienced a lot of different influences, such as Paul Klee, Edward Burra, artists, who, as I thought, you can imitate. Still later - Picasso, then - Rembrandt and all virtually the entire history of art.

What matters is whether these effects are still in your work?

Of course, the latter effect is still important. I do not have a solidified opinion, I would rather react to what they saw, but in principle I can be influenced by any of the well-known of the great masters, and not only them, but much less well-known artists as Albert Pinhem Ryder, Gerald Wilde, Antonin Artaud -- I will not continue, the list would be too very long.

At what time of day you work best?

In the mornings and evenings, afternoons often gives good results.

What the artists past and present you most admire?

It is very difficult to answer this question - perpechen again be very long. Rembrendt, Kosteybl, Turner, Titian, Veronese, Velaskuzez, Whistler, Giacometti, Mariss, Leger, Rodin, Michelangelo, Picasso, Mexican and Japanese sculpture, Hogarth, Daumier, Cezanne, Seurat, de Kooning - and generally, any artist who comes to your mind.

do you prefer to work, being alone, or you are willing to write in the presence of people?

I have never worked on people, I just can not. The work requires a very high concentration of nervous. But seven days a week, come to me sitter, and they, of course, are present in my work.

How do you start working on a painting? What do you preparatory drawings, sketches or just embarking on painting, without training?

I do not have a strictly defined method. Before you write your landscape, I make preparatory drawings. When I work with an artist's model, the direct write, but then move that into the work of a lot of changes.

Which of your works are best represents you?

I, you know, a small expert on his work, but I think the pictures are generally more personal, better express the author. Probably I should choose one of my successful designs.

Do you feel that you constantly return to its past?

Yes, of course, but for me it is not "return to the past", it seems to me that in so doing, I go forward.

[LCR]

Have you ever destroy your own work, or finishing it, and then deciding that you do not like, completely rewriting?

I have to destroy their work each day in the process of their creation. Often I copy the picture, which to me seemed finished, but I would like to see this happen more often.

critical if you are in relation to your own work or finished work seem worthy of you and do not bother you?

They make me very worried. I find it difficult to consider them finished.

What influenced your latest work, whatever you're writing now?

If we talk about vnehudozhestvennyh influences that must be added to the art, it is - my private life, my health ...

[Сима]

LCR, thanks. And the big picture there?
She looked and could not escape the thought that the blood is no arguing against. Very Jewish texture. Specific sense of substance and the unity of being. (But the discussion do not want to get involved).

[LCR]

Сообщение от Sim

LCR, thanks. And the big picture there?
She looked and could not escape the thought that the blood is no arguing against. Very Jewish texture. Specific sense of substance and the unity of being. (But the discussion do not want to get involved).

Sim, all sizes, which could find - but they are the majority - in the caption below the images. They are not very large, seem bigger than it actually is, and for me it is a very good quality, we can even say the exam.

As for the Jews, I think you're right - as in the work of Kossoff, his brother-almost twin.

[fross]

Thank you, very beautiful work. He, in my opinion, stronger than Kosoff, even though the similarity of origin .

[LCR]

At the forthcoming auction of Contemporary Art, Christie's - three portraits by Auerbach (I really like the second and third), at Sotheby's-another portrait, too much, in my opinion, good. Preliminary estimates call, say, respect

[LCR]

See how Auerbach sold at Sotheby's, not bad, right?

At Christie's also sold all of his work, at least in excess of the lower estimates.

Here it is, my London School

[SAH]

Сообщение от LCR

Look how Auerbach sold at Sotheby's, well, true?

Not the word