Frank Auerbach Here & Now
Frank Auerbach Here & Now 弗兰克·奥尔巴赫 此时此地
Frank Auerbach Here & Now Art Basel Hong Kong Stand 3E20 29-31 March 2018
Marlborough Fine Art 6 Albemarle Street London W1S 4BY +44 (0)20 7629 5161 mfa@marlboroughfineart.com www.marlboroughfineart.com
弗兰克·奥尔巴赫 此时此地 巴塞尔艺术展 香港展会 3E20 展位 2018年3月29-31日
马伯勒艺术画廊 英国伦敦阿贝伯马尔街6号 电话:+ 44 (0)20 7629 5161 mfa@marlboroughfineart.com www.marlboroughfineart.com
Here & Now: Recent works by Frank Auerbach Introduction by William Feaver Following his retrospective at the Kunstmuseum, Bonn and Tate Britain in 2015-16 Frank Auerbach is recognized more widely than ever as pre-eminent among painters working today. This distinction is all the more impressive in that his subject matter remains much as it has been over the past sixty years and more: his immediate vicinity and those closest to him. His work perpetuates continuity not through harking back but by pressing ahead and striving on from crescendo to crescendo. Central to this selection are two self-portrait drawings – the head at shaving mirror angle, closer to hand than any ordinary sitter, an apprehensive image, naturally so, for here subject and object are one and the same. The painter’s hand, wielding graphite and chalk, pursues the enterprise of catching himself unawares. Self-consciously so, of course. With Julia, his wife, he is more confident and indeed more practised. As she rests and sleeps the genre of portrait head resolves into something like the lie of a land: not dreamscape but profound habit, reliance and affection conveyed, one to the other. As for the small paintings of the street nearest his studio, with these Auerbach steps aside from months spent on the larger prime rendition of the scene.
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‘Studies’ is not quite the word for these wonderful alerts for they, like all the rest, are outcomes not preliminaries. Their sense of speed (our eyes clapped on all the essentials) gives them an amazing sufficiency. Each recharges the effort of making fresh sense of whoever and wherever. It’s this sudden verve that makes a true Auerbach. Catherine, David, Jake (and me too: by their reckoning a latecomer to the role) function as prompts and, to some degree co-conspirators. That’s an exaggeration. But, as at every sitting each sitter sits, continuity accumulates. We may think we’re a bit like the Chinese warriors of Xian, except that those terracotta inscrutables were mass-produced and, individually, we are successive one-offs. We serve to ignite. For this is painting pushing forward while we just sit there. Frank’s great effort is to secure immediacy by gradual means. This group of recent works is yet another eloquent and profound affirmation, here and now, of what he can make paint do.
此时此地: 弗兰克·奥尔巴赫 序言:威廉·费弗 继2015-2016年分别在德国波恩艺术博物馆和英国泰 特美术馆举行的回顾展之后,弗兰克·奥尔巴赫更广 泛地被视为现当代画家中的佼佼者。他所居地周边 人和事是他长年创作的主题。在他持续创作的六十 多年中,这些灵感来源有增无减,令人印象深刻。 他的作品往往呈现出一种持续的永恒性,其实现的 方式并非追溯往昔,而是循序渐进地逐渐增强。. 此番作品中最引人瞩目的是两幅自画像 ——其中一 幅以剃须镜内头部的视角呈现,相较其他坐像,模 特的头部更接近其手部。主体和客体合而为一,浑 然天成地表现出一种不安。画家挥舞手中的石墨和 粉笔,完美捕捉了无意识的瞬间。当他画妻子朱莉 娅时,他显得更有信心,更熟练。她的日常肖像画 大多是憩息和睡眠场景:这些场景不是梦境,而是 深邃的习惯,依恋和仰赖在彼此之间的相互传递。 至于他工作室附近街道的小型画作,奥尔巴赫时常 在完成后将其放置几个月,然后演绎到更大的场景 中。说它们是“草稿”并不足以定义其美好, 像其它的 小习作一样,它们是成品而不是初稿。其速度感给 予它们令人惊叹的自给自足(我们的眼睛情不自禁 在这些精品上鼓掌)。无论何时何地,每次作品里 呈现出的撞击都让人耳目一新。
这不期而至的热情成就一个真实的奥尔巴赫。在某 种程度上,凯瑟琳,大卫,杰克(包括我在内: 作为一个被认可的新模特),我们既是推广也是同 盟。这或许有些夸张,但每一个坐在座位上的模特 都成为了画家连续积累的一部分。也许我们觉得自 己有点像中国西安的兵马俑。不同的是,兵马俑是 以难以置信的方式批量生产的产物,而我们是连绵 不断的单品。我们都只是一个引子,只是坐在那 儿,让画儿来大放其彩。 弗兰克矢志不渝地通过渐进的方式来保证其即时 性。这组近期的作品,此时此地,又是另外一个具 有说服力而深刻的断言:他,可以让油彩说话。
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Photo: © David Dawson
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List of Works
作品列表
Mornington Crescent – First Light 1989-90 oil on canvas 134.9 x 112 cm (531/8 x 441/8 in.)
莫宁顿巷 — 第一缕光, 1989-90 布面油画
Head of Catherine Lampert 2015 oil on canvas 56.5 x 51.4 cm (221/4 x 201/4 in.)
凯瑟琳・兰佩头像, 2015 布面油画
Reclining Head of Julia 2015-16 acrylic on board 51.1 x 51.1 cm (201/8 x 201/8 in.)
斜倚着的朱莉娅头像, 2015-16 木板丙烯
Reclining Head of Julia 2016-17 acrylic on board 38.4 x 38.4 cm (151/8 x 151/8 in.)
斜倚着的朱莉娅头像, 2016-17 木板丙烯
Reclining Head of Julia II 2016 acrylic on board 60 x 63.2 cm (23 5/8 x 247/8 in.)
斜倚着的朱莉娅头像之二, 2016 木板丙烯
Albert Street 2016-17 oil on board 38.4 x 38.4 cm (151/8 x 151/8 in.)
阿尔伯特街, 2016-17 木板油画
Albert Street IV 2017 oil on board 38.1 x 38.1 cm (15 x 15 in.)
阿尔伯特街之四, 2017 木板油画
Self-Portrait VI 2017 graphite on paper 76.8 x 57.1 cm (30¼ x 22½ in.)
自画像之六, 2017 纸本石墨素描
Head of Catherine Lampert 2017 oil on board 55.9 x 55.9 cm (22 x 22 in.)
凯瑟琳・兰佩头像, 2017 木板油画
Head of Jake 2017 oil on board 55.9 x 55.9 cm (22 x 22 in.)
杰克头像, 2017 木板油画
David Landau Seated 2016-17 oil on canvas 56.2 x 51.4 cm (221/8 x 201/4 in.)
大卫·兰道坐像, 2016-17 布面油画
Self-Portrait 2017-18 graphite and chalk on paper 76.8 x 57.1 cm (301/4 x 221/2 in.)
自画像, 2017-18 纸本石墨粉笔素描 09
Mornington Crescent – First Light 1989-90 oil on canvas 134.9 x 112 cm (531/8 x 441/8 in.) 莫宁顿巷 — 第一缕光, 1989-90 布面油画
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Head of Catherine Lampert 2015 oil on canvas 56.5 x 51.4 cm (221/4 x 201/4 in.) 凯瑟琳・兰佩头像, 2015 布面油画
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Reclining Head of Julia 2015-16 acrylic on board 51.1 x 51.1 cm (201/8 x 201/8 in.) 14
斜倚着的朱莉娅头像, 2015-16 木板丙烯.)
Reclining Head of Julia 2016-17 acrylic on board 38.4 x 38.4 cm (151/8 x 151/8 in.)
斜倚着的朱莉娅头像, 2016-17 木板丙烯
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Reclining Head of Julia II 2016 acrylic on board 60 x 63.2 cm (23 5/8 x 247/8 in.) 斜倚着的朱莉娅头像之二, 2016 木板丙烯
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Albert Street 2016-17 oil on board 38.4 x 38.4 cm (151/8 x 151/8 in.) 18
阿尔伯特街, 2016-17 木板油画
Albert Street IV 2017 oil on board 38.1 x 38.1 cm (15 x 15 in.)
阿尔伯特街之四, 2017 木板油画
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Self-Portrait VI 2017 graphite on paper 76.8 x 57.1 cm (301/4 x 221/2 in.) 自画像之六, 2017 纸本石墨素描
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Head of Catherine Lampert 2017 oil on board 55.9 x 55.9 cm (22 x 22 in.) 凯瑟琳・兰佩头像, 2017 木板油画
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Head of Jake 2017 oil on board 55.9 x 55.9 cm (22 x 22 in.) 24
杰克头像, 2017 木板油画
David Landau Seated 2016-17 oil on canvas 56.2 x 51.4 cm (221/8 x 201/4 in.)
大卫·兰道坐像, 2016-17 布面油画
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Self-Portrait 2017-18 graphite and chalk on paper 76.8 x 57.1 cm (301/4 x 221/2 in.) 自画像, 2017-18 纸本石墨粉笔素描
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Frank Auerbach SELECTED SOLO EXHIBITIONS
BIOGRAPHY 1931 1939 1948-52 1952-55
Born in Berlin Arrives in England Studies at St Martin's School of Art, London Studies at the Royal College of Art, London Lives and works in London
MONOGRAPHS Robert Hughes, Frank Auerbach, Thames & Hudson, London, 1990. Chinese edition China Youth Press, 2003 William Feaver, Frank Auerbach, Rizzoli, New York, 2009 Catherine Lampert, Frank Auerbach: Speaking and Painting, Thames & Hudson, London; Sieveking Verlag, Munich, 2015. Chinese edition Shanghai People’s Fine Arts Publishing House, 2017
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1965 Marlborough Fine Art, London (1967, 1971, 1974, 1983, 1987, 1990 also Marlborough Graphics, 1997, 2004, 2009, 2012, 2015) 1969 Marlborough Gerson Gallery, New York; Marlborough Gallery, New York (1982, 1994, 1998, 2006) 1978 Retrospective Exhibition, Arts Council of Great Britain, Hayward Gallery, London; Fruit Market Gallery, Edinburgh 1986 British Pavilion XLII Venice Biennale 1986-87 Kunstverein in Hamburg; Museum Folkwang, Essen; Centro de Arte Reina Sofia, Madrid 1989 Rijksmuseum Vincent Van Gogh, Amsterdam 1990-91 Saint Louis Art Museum, Missouri; Yale Center for British Art, New Haven 1995 National Gallery, London 2001 Royal Academy of Arts, London (selection of works shown at Scottish National Gallery of Modern Art, Edinburgh, in 2002) 2002 Marlborough GalerĂa, Madrid Victoria and Albert Museum, London (with Lucian Freud) 2007-8 Fitzwilliam Museum, Cambridge; Abbot Hall Art Gallery, Kendal 2009-10 The Courtauld Gallery, London 2013-14 Ordovas, London; Rijksmuseum, Amsterdam (with Rembrandt) 2014 Manchester Art Gallery (Lucian Freud Estate highlights) and Tate Britain, London 2015-16 Kunstmuseum, Bonn; Tate Britain, London
PUBLIC COLLECTIONS Aberdeen Art Gallery Adelaide: Art Gallery of South Australia Bedford: Cecil Higgins Art Gallery Belfast: Arts Council of Northern Ireland; Ulster Museum Birmingham: Barber Institute of Fine Arts, University of Birmingham Bolton Museum Bristol Art Gallery and Museum Cambridge: Fitzwilliam Museum Canberra: National Gallery of Australia Cape Town: National Gallery of South Africa Cardiff: Amgueddfa Cymru - National Museum Wales Chicago: Art Institute of Chichester: Pallant House Gallery Cincinnati: University of Cleethorpes Art Association Cleveland Museum of Art, Ohio Edinburgh: Scottish National Gallery of Modern Art Falmouth Art Gallery Glasgow Museums Hamilton: McMaster Museum of Art, McMaster University Hartlepool: Museum of Hartlepool Huddersfield Art Gallery Hull: Ferens Art Gallery Humlebaek: Louisiana Museum of Modern Art Jerusalem: Israel Museum Kendal: Abbot Hall Art Gallery Leeds Art Gallery Leicester: New Walk Museum and Art Gallery Lisbon: Calouste-Gulbenkian Foundation Liverpool: Walker Art Gallery London: Arts Council of Great Britain Ben Uri Gallery British Council British Museum Contemporary Art Society Courtauld Gallery Government Picture Collection National Gallery National Portrait Gallery Royal College of Art Tate Victoria and Albert Museum
Los Angeles County Museum Madrid: Museo Thyssen-Bornemisza Manchester: Manchester City Art Gallery Whitworth Art Gallery, University of Manchester Melbourne: National Gallery of Victoria, Felton Bequest Mexico City: Museo Rufino Tamayo Middlesbrough Institute of Modern Art Newcastle upon Tyne: Laing Art Gallery Hatton Gallery New Haven: Yale Center for British Art New York: Metropolitan Museum of Art Museum of Modern Art Norwich: Castle Museum and Art Gallery Sainsbury Centre for Visual Arts Nottingham: Castle Museum and Art Gallery Oldham: Gallery Oldham Oslo: Astrup Fearnley Museet for Moderne Kunst Oxford: Ashmolean Museum Paris: MusĂŠe Maillol Perth: The Art Gallery of Western Australia Plymouth Art Gallery Portland: Art Museum Preston: Harris Museum and Art Gallery Rochdale: Touchstones St. Louis Art Museum Salvador, Brazil: Museo de Arte Moderna da Bahia Sheffield: Graves Gallery Southampton Art Gallery Swindon Museum and Art Gallery Sydney: Art Gallery of New South Wales Tel Aviv Museum of Art Torquay: Torre Abbey Historic House and Gardens Wakefield: The Hepworth Walsall: New Art Gallery 29
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Cover: Self-Portrait 2017-18 (detail) Photography: Richard Ivey, Prudence Cuming Associates and Luke Walker Design: Stocks Taylor Benson Print: Impress Print Services Translation: Xiaoqian Xu Š 2018 Marlborough 30