Painting must be like a miracle.
—Mark Rothko
Only those who are lonely and sensitive at heart,
To be able to draw such a painting.
A touch of oil paint overlaid with a touch of oil paint,
One color layer covers one color layer,
Dignified and sharp colors,
At the same time, with indisputable stubbornness
The viewer's gaze is drawn into the overlap of colors.
What is this hiding?
No, this is revealing something...
1950 Head of Leon Kossoff
1952 Auerbach’s EOW Nude
1952 Summer Building Site
1953 E. O. W. Nude
1954-55 Primrose Hill
1954 Head of Leon Kossoff
1955 Auerbach’s ‘Golem-like’ Head of EOW
1956 Head of E. O. W. VIII
1957-58 Small Head of E. O. W.
1958 Self-portrait
1859 Shell Building Site
1959-60 Oxford Street Building Site I .jpg
1960 Oxford Street Building Site
1860 Head of E. O. W. I
As a painter,
Frank Auerbach and Lucian Freud
is also born in the German-speaking area,
Also in the thirties
descendants of Jewish descent who emigrated to England,
They paint equally stubbornly.
Although Auerbach (born 1931)
Nine years younger than Freud (born in 1922),
However, its distinctive painting style and strong picture form
and the dignified language of painting,
It directly affected Freud in the transition period.
And, in contrast to Freud
"Humanized" reconstructed painting,
Auerbach retained more
disassembling the traces of painting,
And with this to achieve one
Creative mode of free perception.
1960 Head of Julia
1961 Untitled (E.O.W. Nude)
1961-1964 Primrose Hill- Spring Sunshine
1962-64 Head of Helen Gillespie
1963 E. O. W. on Her Blue Eiderdown
1963 Gaumont Cinema
1963 E· O· W,S· A· W,J· J· W in the garden Ⅰ
1963 Head of E.O.W. III
1964 Primrose Hill, Summer Sunshine
1964 The Sitting Room
1965 Mornington Crescent
1965 Study after Titian II
Since the second half of the 20th century
In the field of contemporary art,
The concept of "art"
It has undergone several changes,
It has also added many new ideas,
New media and new forms of expression.
meanwhile
Considered a conservative field of shelf painting
is greatly compressed,
But based on the manual characteristics,
There is still some room for existence.
therefore
How to excavate and expand the deep meaning of painting,
and re-examination, re-evaluation
the intrinsic value of painting,
It is what contemporary painters face
One of the major issues.
1966 Reclining Figure I
1966 Seated Figure
1967 Head of G.B.
1967 EOW Sleeping IV
1967-68 Primrose Hill
1967-70 Figure on a Bed
1967 The Origin of the Great Bear
1968 The human body in bed
1969 Head of Paula Alice
1971 Bacchus and Ariadne
Auerbach bucks the tide,
Back to the field of painting,
Re-confronting objects and pictures,
And try to re-coordinate the morphological relationship between each other.
He excavates the essence of tradition from an unconventional perspective,
And in the process of digging, determine the root of the self.
Since painting no longer occupies a dominant artistic position,
Therefore, it is urgent to change the painting
Morphology versus concrete formal language.
He took the initiative to remove the painting
The story and the narration,
Going back to the basic visual level,
And with this, a new artistic experiment is launched.
The single picture begins to become more pure,
And
Externalized visual expression thanks
For the deepening of the inner formal language.
1972 Drawing for Mornington Crescent Painting
1973 Head of J. Y. M.
1973 Looking towards Mornington
Crescent Station, Night
1973 Seated Figure with Arms Raised
1974 Seated Figure with Arms Raised
1975-76 Rimbaud
1976 Rimbaud
1976 Sketch for ‘Rimbaud’
1976 Camden Theatre
1976 J. Y. M. Seated
In the field of contemporary painting,
For the choice of painting forms,
It's more out of internal logic
and the alignment of the corresponding concept.
In contrast to painting tends to pictorial expression,
Auerbach, on the other hand, is entirely inclined to de-image.
He conveys the picture as an ideogram,
Pass the image in it
the actual treatment of non-materialization (non-figuration),
So that the form of the picture is between figurative and non-figurative,
This is intrinsically conceptual
Infinite expansion provides effective space,
Therefore, the margins of painting have once again been quietly broken.
1978-79 St Pancras Steps, Station
1979 To the Studios
1980 Head of JYM III
1980-81 Euston Steps
1981 J. Y. M. Seated No. 1
1981 JYM1
1981-1982 Primrose Hill – Winter
1984-85 Reclining Head of J. Y. M.
1985 Head of Julia III
1984-85 Head of JYM ll
1985 J. Y.M.
Auerbach's portrait works
Directly influenced by de Kunin,
The "real" followed is the reality of the painting,
And not objective truth.
The image of the model is not a necessary reference,
Neither materialization nor sublimation,
Instead, the coordinates are established
Start the process of further painting.
He indulged in unbridled tension,
While tightening the modest rationality,
Paranoia and arbitrariness, introverted
Juxtaposed with fullness,
And full of sharp intensity.
Fundamentally,
The picture becomes a kind of conceptual coordinate,
Not only with spiritual attention,
It lies more in the embodiment and cohesion of spiritual values.
1987 Julia
1987-1988 The Chimney, Mornington Crescent
1990-91 To the Studios
1992 Julia
1997 Mornington Crescent Looking South
1998-99 Park Village East, Winter
2000 Camden Palace
2004 Mornington Crescent – Summer Morning II
2004 Study for
'Mornington Crescent, Summer Morning II'
2009-10 Head of Jake
2010 Hampstead Road, High Summer
2011 William Feaver Seated
2014-2015 Head of Catherine Lampert
For the picture,
The play of painting skills is required
In line with the expression of the language of painting,
The texture derived from the painting material
It also acts on visual representation.
Auerbach did not intend to be fancy in style,
What is more concerned is the language of painting
the transformation of external forms,
At the same time, it creates an anti-romantic context.
Seemingly rough brush strokes,
Not for the pleasure,
Nor is it orderly,
Just to burst out a stronger sense of modeling.
Thick, sticky piles on canvas
The pigment carries the weight of the color,
As the image drifts begin to overflow.
The painter takes a visual dimension of heaviness
Promote rich perception,
At the same time, the stripping is gradual
Deduce rigorous logic,
And under the impetus of internal logic
Creatively shape the spiritual portrait,
At the same time, materialize and spiritualize
Found an appropriate fit,
And on the level of painting, they merge into one.
Text: Wang Yang
Vision: Bobo Han
Source: Oil Painting Institute of China Academy of Art
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