Frank Auerbach: A Life Painted in Thick Emotion
Born in Berlin in 1931, Frank Auerbach’s life was profoundly shaped by the tumultuous events of the early 20th century. His Jewish heritage and the rise of Nazism forced his family to flee Germany when he was just a child, seeking refuge in England. This experience – the loss of his parents during World War II and the subsequent childhood spent at a progressive boarding school in Kent – instilled within him a deep sense of melancholy and a raw emotionality that would become central to his artistic vision. Auerbach’s early years were marked by a quiet intensity, a sensitivity honed through observation and a profound connection to the world around him. This foundation would later inform the intensely personal nature of his paintings, which eschewed traditional representation in favor of conveying feeling directly.
His formal art training began at St Martin’s School of Art in 1948, where he encountered the influential guidance of David Bomberg. It was during this period that Auerbach developed a close friendship with Leon Kossoff, a relationship that would continue throughout their careers and profoundly influence each other's artistic approaches. Auerbach’s style began to take shape – characterized by layers upon layers of thickly applied paint, often in dark, muted tones. This technique wasn’t simply about surface texture; it was a deliberate attempt to capture the essence of his subjects, to imbue them with an almost palpable sense of presence and emotion. His early works were largely influenced by the School of London movement, a group of British artists who rejected the prevailing modernist trends and instead focused on depicting urban life and personal experience in a direct and unadorned manner.
The Models: Anchors of Emotional Resonance
Auerbach’s artistic practice was remarkably consistent over several decades, revolving around a small group of recurring models. These weren't idealized figures; they were individuals – his wife Julia, Juliet Yardley Mills ('J.Y.M.'), and Stella West ('E.O.W.') – who served as anchors for his emotional explorations. These relationships, built on friendship and trust, provided him with a stable framework within which to explore themes of intimacy, loneliness, and the complexities of human connection. The models were rarely posed formally; instead, Auerbach would paint them in their everyday lives, capturing fleeting moments of vulnerability and quiet contemplation. This approach allowed him to move beyond mere likeness and delve into the psychological landscape of his subjects.
The choice of dark colors – predominantly browns, blacks, and greys – was not arbitrary. They reflected Auerbach’s own emotional state, a sense of sadness and introspection that permeated much of his work. He often worked late at night, using only a single lamp to illuminate his canvases, creating an atmosphere of intimacy and vulnerability. The thick impasto technique, the way he built up the paint with such deliberate force, further amplified this effect, giving the paintings a tactile quality that invited viewers to engage with them on a visceral level. Critics like David Sylvester initially questioned whether Auerbach’s work was truly painting or sculpture, noting the sheer volume of paint applied but ultimately recognizing its profound emotional impact.
A Retrospective and Lasting Legacy
Despite initial skepticism, Auerbach's reputation steadily grew throughout the 1970s. A major retrospective at the Hayward Gallery in London in 1978 brought his work to a wider audience, solidifying his place as one of the most important British artists of his generation. His paintings were exhibited internationally, including a prestigious showing at the Venice Biennale in 1986. Auerbach’s influence extended beyond his own artistic practice; he mentored younger artists and remained committed to his craft until shortly before his death in 1979.
Frank Auerbach's work continues to resonate with viewers today because of its raw honesty and emotional intensity. He eschewed the conventions of traditional painting, opting instead to create images that were deeply personal and profoundly moving. His paintings are not simply representations of reality; they are expressions of feeling – a testament to the power of art to capture the complexities of human experience. His legacy lies in his unwavering commitment to his own unique vision, a vision rooted in memory, loss, and an enduring search for connection.
Connections & Influences
Auerbach’s artistic journey was shaped by several key influences. The School of London movement, with its emphasis on direct observation and emotional expression, provided a crucial foundation for his early work. The influence of David Bomberg, his mentor at St Martin's School of Art, is particularly evident in Auerbach’s use of dark colors and expressive brushwork. Furthermore, the works of artists like Leon Kossoff, with whom he shared a close friendship, served as a source of inspiration. Kossoff’s own exploration of urban life and personal experience resonated deeply with Auerbach's artistic concerns.
Beyond these immediate influences, Auerbach was also drawn to the work of older masters, particularly Rembrandt van Rijn. The Dutch painter’s use of light and shadow, his ability to convey emotion through subtle gestures, and his commitment to capturing the essence of his subjects served as a model for Auerbach's own approach. The influence of Jackson Pollock is also notable, particularly in Auerbach’s early experiments with gestural painting and layered application of paint.
Critical Reception & Recognition
Auerbach’s work initially faced criticism from some quarters, with critics questioning his technique and style. However, the tide began to turn in the mid-1950s, thanks largely to the support of David Sylvester, who championed Auerbach's unique vision. Sylvester recognized that Auerbach’s paintings were not merely decorative exercises but profound expressions of emotion. His insightful reviews helped to elevate Auerbach’s work and establish him as a significant figure in British art.
Despite this initial resistance, Auerbach continued to exhibit his work throughout the 1960s and 70s, gradually gaining recognition from both critics and collectors. His retrospective at the Hayward Gallery in 1978 was a major turning point, cementing his place as one of the most important British artists of his generation. His paintings are now held in prestigious collections around the world, including the Tate Collection and the British Museum.
