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 20th century. His early years were marked by displacement and loss – his parents, Jewish refugees from Germany, sought sanctuary in England during the rise of Nazism, only to be tragically killed in concentration camps during World War II. This traumatic experience cast a long shadow over Auerbach’s artistic vision, informing a deeply personal and emotionally charged style that distinguished him within the School of London movement.
Auerbach's childhood was spent at Bunce Court, a progressive boarding school in Kent for Jewish refugee children, an environment that fostered a sense of community and resilience. Following the war, he enrolled at St Martin’s School of Art, where he found mentorship with David Bomberg, a key figure in establishing the School of London – a group of British artists working in post-war London who rejected the prevailing modernist trends and instead focused on depicting urban life and emotional experience through bold, expressive brushstrokes. His time at the Royal College of Art further solidified his artistic development, though he ultimately chose to remain rooted in the gritty realities of London.
Auerbach’s studio, a small space in central London that he has occupied since 1954, became the locus of his creative output. He rarely ventured far from this familiar environment, preferring to work with a carefully selected group of models: Julia, his wife; Juliet Yardley Mills ('J.Y.M.'); and Stella West ('E.O.W.'), a close friend who served as the primary subject for many of his nude and female head studies. These recurring figures weren’t simply portraits; they were vessels for Auerbach's intense emotions – grief, loneliness, and a profound sense of isolation.
His technique is instantly recognizable: thick, impastoed layers of paint applied with broad, sweeping brushstrokes. He eschewed meticulous detail in favor of capturing the essence of his subjects through color and texture. Critics initially struggled to categorize Auerbach’s work, often describing it as “sculptural” due to the sheer physicality of the paint application, yet acknowledging its undeniable painterly qualities. David Sylvester famously argued that despite the piled-up paint, these were "painterly images, not sculptural ones," emphasizing their psychological impact over physical form.
The School of London and Auerbach’s Distinctive Voice
Auerbach's work is inextricably linked to the School of London, a group of artists who emerged in post-war Britain. However, he developed a uniquely expressive style that set him apart from his peers. Unlike the more abstract tendencies of some members of the school, Auerbach remained committed to figurative representation, albeit imbued with an intensely subjective and emotional quality.
Influenced by artists like David Bomberg and Leon Kossoff, Auerbach’s palette was often muted – dominated by browns, ochres, and greys – reflecting the atmospheric conditions of London. He frequently painted in the early morning light, capturing the fleeting effects of shadow and illumination on his subjects. His paintings are not simply depictions of figures; they are explorations of mood and feeling, conveying a sense of vulnerability and introspection.
Kossoff, a close friend and fellow member of the School of London, offered a particularly insightful assessment of Auerbach’s work: “in spite of the excessive piling on of paint, the effect of these works on the mind is of images recovered and reconceived in the barest and most particular light, the same light that seems to glow through the late, great, thin Turners ... an unpremeditated manifestation arising from the constant application of true draughtsmanship.” This description highlights Auerbach’s ability to create powerful emotional resonance despite his seemingly simple technique.
Recurring Themes and Models
Auerbach's oeuvre is characterized by recurring themes – primarily portraits, often depicting women in intimate settings. His relationship with his models was deeply personal; Julia, J.Y.M., and Stella West were not merely subjects but companions and confidantes. These figures appear repeatedly throughout his work, evolving subtly over time as Auerbach’s artistic vision matured.
The choice of these particular models is significant. Auerbach deliberately avoided idealized representations, instead portraying his subjects with a raw honesty that reflected their vulnerability and humanity. The repeated use of the same figures allowed him to explore their personalities and emotions over extended periods, creating a sense of continuity and intimacy within his body of work.
The studio itself became an integral part of Auerbach’s artistic process. He rarely traveled beyond London, preferring to work in his familiar surroundings. This deliberate isolation fostered a unique creative environment, allowing him to develop his distinctive style and explore the emotional depths of his subjects.
Legacy and Recognition
Despite initial skepticism from some critics, Frank Auerbach’s work gradually gained recognition as a significant contribution to British art. His retrospective at the Hayward Gallery in 1978 brought him widespread acclaim, solidifying his place within the canon of 20th-century painting.
Auerbach's paintings are now held in major collections around the world, including the Tate and the British Museum. His work continues to resonate with viewers today due to its emotional honesty, expressive power, and unique visual language. He left behind a substantial body of work that offers a profound insight into the human condition – a testament to the enduring power of art to capture and convey the complexities of experience.
Frank Auerbach died in 2013, leaving behind a legacy as one of the most important and distinctive figures in British painting. His paintings remain powerful reminders of the transformative potential of art and the profound impact of personal experience on creative expression.
