He layers his paint thickly, his
trademark technique, ‘impasto’, and
here the fatness of the paint and the curdled palette give the idea of dirt and
exhaust fumes under an overcast sky. A yellow car zooms past, a red
double-decker bus charges towards us, a dog sniffs at something on the
pavement. Vertical and horizontal lines suggest the cranes, buildings and
lamp-posts of the cityscape. Everything is moving, everything is chaotic: the
painting is alive.
Frank Auerbach is an artist’s artist. His practice is deadly
serious and he is deeply in love with his work. At the age of 84, he still
paints everyday. “It seems to me madness to wake up in the morning and do
something other than paint”.
All of his tactile
paintings are the work of an intensive process; working for months, sometimes years, on a
subject. Auerbach layers his paint on thickly, and then scrapes it back to the
canvas, only to paint all over again. He never knows when the painting will be
finished, describing it as ‘a surprise’.
The exhibition is laid out chronologically, and it is
Auerbach’s earliest work where his impasto is thickest. You want to dive in to Building Site, Earl’s Court Road, Winter : the blacks, browns, reds and greens are
deliciously thick. A broad slick of brown and gold suggests the light
pollution. The texture twitches and shimmers, with thousands of half-seen shapes
and movemnnts that make up a nocturnal urban scene.
Frank Auerbach, E.O.W. Nude 1953–4
On E.O.W Nude, the impasto is so thick that the piece become
sculptural; it’s no wonder Auerbach is known as ‘the darling of paint
merchants’. The nude is a deeply erotic work; the whites and creams of the
softly lit flesh and the softness of the curves are wonderful against the dark
of the room.
Auerbach is a creature of habit, and he likes to paint the
same scenes, the same faces over and over again to ‘see them anew’. It
isn’t that he thinks Camden town is the best place to paint in London, it’s
that it’s his home. It isn’t that his five sitters are the most striking people in the world, it’s that they’re his friends, lovers, children. Auerbach can
look at one of his most abstract pieces and identify from the bustle of forms a
plate, a print, a dictionary: his works are particular and deeply personal.
The exhibition looks at his five sitters, as well as Camden
town, where his studio has been for the last fifty years. Auerbach is acutely
aware of time passing, and we see the effect of time upon the faces and places
he loves. His work is an attempt to ‘pin down an experience before it
The problem with this exhibition, though, is the layout.
There’s an ever-so-slight whiff of navel-gazing; Auerbach was allowed to curate
the exhibition himself, with the exception of the meandering, random final
room, which was curated by one of his models and acolytes, Catherine Lampert.
It is always a risk to involve an artist in their own retrospective. Often, they
shun their early work and, here, we are not given nearly enough juvenilia to
explore. The decision to order the works chronologically poor. Auerbach is a
tough artist, and his works would have been much more accessible had they been grouped thematically.
Nevertheless, there is plenty here to stun. Auerbach is the rarest
of things: a man so consumed by his artistry that if her were prevented from working, you feel he’d simply cease to
|What||Frank Auerbach, Tate Britain|
Millbank, London, SW1P 4RG | MAP
|Nearest tube||Pimlico (underground)|
09 Oct 15 – 13 Mar 16, 10:00 AM – 6:00 PM
|Price||£Prices not yet released|
|Website||Click here for more information|