Frank Auerbach

Frank Auerbach, nacido en Berlin en 1931 pero establecido en Londres desde hace muchos años ya, ha creado unas de las pinturas más resonantes e inventivas de nuestros tiempos con personas y paisajes urbanos que retoman la vida citadina cerca de su estudio en Londres. En este su 85 aniversario, la Tate Britain le rinde tributo con una de las más grandes exhibiciones de su trayectoria, incluyendo 70 obras entre pinturas y dibujos desde 1950 hasta nuestro días.

La exhibición reafirma su lugar como uno de los pintores más prominentes de nuestra época y ofrece al espectador nuevas perspectivas a la naturaleza de su pintura.

Head of J.Y.M II 1984-85 Private collection © Frank Auerbach
Head of J.Y.M II 1984-85. Private collection
© Frank Auerbach

Auerbach quien no deja de producir obra, trabaja los 365 días del año, creando obras visualmente dinámicas, táctiles, en el mismo estudio que ha ocupado desde 1954. Por medio siglo ha trabajado de manera no comprometida, rascando la superficie del lienzo para empezar y recomenzar el proceso de pintura. Comienza fresco y de nuevo durante meses o años hasta que la pintura o el dibujo se realiza solo en cuestión de horas, después de haberlo sorprendido finalmente.

La profundidad, textura y sentido del espacio en una pintura de Auerbach hacen que el espectador tenga una experiencia única al estar parado frente a frente en una de sus obras.

La mayoría de obras expuestas vienen de colecciones privadas lo que provee una oportunidad única de poder vivenciar estas obras; incluye retratos tempranos como Head of Leon Kossoff, 1954 y paisajes como Building Site, Earl’s Court, Winter 1953 que nos remontan a la época de post guerra en Londres en donde mucho se tuvo que reconstruir después de los bombardeos.

Auerbach contribuyó en gran medida al armar esta exhibición, 6 de las 8 salas fueron diseñadas por él mismo, distinguiendo y separando sus obras por décadas.

La historiadora de arte Catherine Lampert, quien ha trabajado de la mano del artista por 37 años ha complementado la exhibición al concentrarse en la continuidad de los temas en la obra de Auerbach y en su habilidad de evitar absolutamente la repetición. Trabajando en estrecha colaboración con el artista, la exposición está curada por Catherine Lampert con Elena Crippa, Helen Little y Sarah Olivey de la Tate Britain.

 

La exhibición fue organizada por la Tate Britain en conjunto con el museo Kunstmuseum de Bonn

 

 

Del 9 de octubre – 13 marzo 2016

Tate Britain, Nivel 2 Galleries

http://www.tate.org.uk

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Frank Auerbach (b 1931, Berlin) has made some of the most resonant and inventive paintings of recent times, of people and of the urban landscapes near his London studio. In the artist’s 85th year, Tate Britain presents a major exhibition of around 70 paintings and drawings from the 1950s to the present day. The exhibition reaffirms Auerbach’s status as one of the pre-eminent painters of our age and will offer new insights into the nature of his painting.

Painting 365 days a year, Auerbach produces his characteristically tactile and visually dynamic work in the same studio he has occupied since 1954. For half a century he has worked in an uncompromising way, scraping back the surface of the canvas to start and re-start the painting process. He begins afresh for months or years until the single painting or drawing is realised in a matter of hours, having finally surprised him.

The depth, texture and sense of space in a painting by Auerbach makes standing in front of one a unique experience. The vast majority of works in the exhibition are from private collections and seldom on public display, providing a rare opportunity to see these important works in the flesh. It includes early portraits such as, as well as landscapes such as Building Site, Earl’s Court, Winter 1953 which come out of Auerbach’s identification with post-war London as a raw unpainted city rebuilt after bombing.

Large works from the 1960s include E.O.W, S.A.W. and J.J.W in the Garden II 1964 and The Origin of the Great Bear 1967-68, a mythological landscape set on London’s Hampstead Heath. Primrose Hill 1971 and Looking Towards Mornington Crescent Station 1972-74 also use expressive directional brushstrokes to suggest London’s foliage, street lamps and passers-by. Portraits of Auerbach’s longstanding model Juliet Yardley Mills, Head of J.Y.M. II 1984-85 and of his wife, Head of Julia II 1985 are also shown, revealing a freer, more fluid treatment of paint. Auerbach’s recent paintings of Mornington Crescent underline his identification with the area, such as The House II 2011, along with further portraits of the five sitters, Julia, Jake Auerbach, Catherine Lampert, David Landau and William Feaver, who visit his studio each week. 

Focusing on this close group of sitters and locations makes Auerbach exceptionally aware of changes in the exact look and spirit of his subjects. He has an acute awareness of time gradually fading away, and has described how he has ‘a strong sense of wanting to pin experience down before it disappears.’

Auerbach has suggested the form and the selection of the first six of eight galleries, looking for distinct works which are grouped by decades. The art historian Catherine Lampert, who has sat for the artist for thirty-seven years, has complemented this by concentrating on the continuity of subjects and Auerbach’s ability to absolutely avoid repetition. Working closely with the artist, the exhibition is curated by Catherine Lampert with Elena Crippa, Helen Little and Sarah Olivey at Tate Britain. The exhibition was organised by Tate Britain in association with the Kunstmuseum Bonn where it was shown from 6 June 2015 to 13 September 2015.

 

9 October 2015 – 13 March 2016

Tate Britain, Level 2 Galleries

http://www.tate.org.uk

 

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