Frank Auerbach: A Life Painted in Thick Emotion
Born in Berlin in 1931, Frank Auerbach’s journey to becoming one of the most distinctive figures in post-war British painting was profoundly shaped by a childhood disrupted by rising fascism. His father, a lawyer, and his mother, a former art student, instilled in him an early appreciation for visual culture, but the looming threat of Nazi Germany forced their relocation to England in 1939. This experience – the loss of family, the displacement, and the subsequent years spent at a progressive boarding school in Kent – became a foundational element in his artistic vision, informing a deeply personal and emotionally charged style.
Auerbach’s formal training began at St Martin's School of Art in 1948, where he was mentored by David Bomberg. This period proved crucial, exposing him to the techniques of layering paint and creating texture – skills that would later define his unique approach. He continued his studies at the Royal College of Art, but it was outside these institutional walls that Auerbach truly developed. His studio in London’s Mornington Crescent became a sanctuary, a space where he cultivated relationships with fellow artists like Leon Kossoff and, crucially, established models – Julia, Juliet Yardley Mills ('J.Y.M.'), and Stella West ('E.O.W.') – who would consistently pose for him throughout his career.
Auerbach’s early work was met with mixed reactions. Critics initially dismissed his heavily impastoed technique as bordering on sculpture, a departure from the prevailing norms of painting at the time. However, figures like David Sylvester recognized the profound emotional depth and psychological intensity within his canvases. Sylvester famously described Auerbach's paintings not as “sculptural,” but as “painterly images, not sculptural ones, have to be read as paintings, not as polychrome reliefs.” This insightful observation highlighted the artist’s ability to convey complex feelings through the sheer physicality of his paint application – a deliberate rejection of illusionistic representation in favor of direct emotional expression.
The Language of Thick Paint
Auerbach's distinctive style is immediately recognizable by its extraordinarily thick, layered application of paint. He rarely used brushes, preferring instead to apply the pigment directly with his hands, knives, and palette keys. This technique creates a tactile surface, almost sculptural in quality, that invites close examination. The colors are often muted – browns, ochres, reds, and blues – and applied in broad, gestural strokes, conveying a sense of urgency and raw emotion.
The choice of subject matter is equally significant. Auerbach primarily painted portraits of his wife, Julia, and his close friends, Juliet Yardley Mills ('J.Y.M.') and Stella West ('E.O.W.'), as well as self-portraits that offer a glimpse into his own inner world. These figures are not rendered with photographic accuracy; instead, they are abstracted and simplified, their forms subsumed within the dense layers of paint. The faces become almost masks, conveying more about Auerbach’s emotional state than any specific detail.
The influence of Leon Kossoff is undeniable. Both artists shared a commitment to depicting urban landscapes and working-class subjects, but they approached these themes with radically different techniques. While Kossoff favored a more subdued palette and a looser brushstroke, Auerbach’s work is characterized by its intense color and almost violent application of paint. However, both artists sought to capture the essence of their subjects – not just their appearance, but also their emotional lives.
Key Works and Recognition
Throughout his career, Auerbach produced a substantial body of work, including iconic paintings such as *Mornington Crescent - Summer Morning* (1954), *Julia at the Piano* (1962), and *Self-Portrait with Julia* (1974). These works are not merely representations of figures; they are expressions of profound emotional intensity. The thick paint, the muted colors, and the simplified forms combine to create a visceral experience for the viewer.
Auerbach’s work received critical acclaim in the 1960s, though he remained largely outside the mainstream art world. He was given a retrospective at the Hayward Gallery in 1978, which helped to solidify his reputation as one of Britain's most important post-war painters. His inclusion in the 1986 Venice Biennale further elevated his profile internationally.
Legacy and Influence
Frank Auerbach died in 2013 at the age of 82, leaving behind a remarkable body of work that continues to resonate with audiences today. His paintings are not easy to look at; they demand attention and invite contemplation. But they also offer a glimpse into the heart of human experience – a testament to the power of art to express the most profound emotions.
Auerbach’s legacy lies in his unwavering commitment to his own unique vision, refusing to compromise his artistic principles for commercial success or critical approval. He remains an important figure in British painting, and his work continues to inspire artists who seek to explore the expressive potential of paint itself.
