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In The Dark Of A Studio,
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A

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rtist Frank Auerbach has
led anything but a mun-
dane life.
Thanks to a princess,
he survived Nazi Germany. He
became an orphan at an early
age. And now his studio is some-
thing of a cave in London.
The artist's paintings and
etchings will be on view as part
of an eight-person thematic ex-
hibition, "Portrait of Our Time,"
at Revolution Gallery in Fern-

ONE DAY ONLY CALL (800) 897-4266

Departing Daily Back To Your Childhood

Critic Robert Hughes de-
Borough Polytechnic, a school of
painting based in London. He scribes Mr. Auerbach's work
later attended the St. Martin's as a complete focus on his mod-
School of Art, from 1948-1952, el.
It is "full of observed facts of
then Royal College of Art, from
which he graduated in 1955 with posture, expression, stare, the
a silver medal and first-class configuration of the head in
all its parts, the tenseness or
honors.
A self-described rebellious slump of a body, alertness or
student, Mr. Auerbach and his boredom, light and shadow: the
close friend, painter Leon Kos- endless drama of the I and
soff, continued their training the Other. The brush does not
with Mr. Bomberg, where they so much 'describe' these as go
to inquisitorial lengths in
finding kinetic and haptic
equivalents for them. A dense
structure unfolds as you look.
The essential subject of the
work, however, is not that
structure as a given thing, but
rather the process of its dis-
covery."
Mr. Auerbach's surfaces
are lush with layers of color,
revealed through a process of
months ,of scraping and re-
painting.

His works
are included in
48 museum
collections.

`The Two Musketeers"

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"Head of J.Y.M." by Frank Auerbach.

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88

dale through Feb. 25.
Born in 1931, Mr. Auerbach
remained with his parents in
Germany despite the rise to
power of Adolph Hitler. His fa-
ther had been certain that
Nazism would soften.
In 1939, Frank was one of six
children Princess Origo of Tus-
cany rescued from the Reich. As
promised, if he were sent to safe
haven in England, she would
pay for his keep and education.
On April 4, just before his 8th
birthday, Frank sailed to Eng-
land to begin a new life.
Soon after arriving in his
new home, Frank learned
that his parents had died. He be-
gan to devote all his energy to
art.
He studied at Bunch Court,
then with David Bomberg at the

A contemporary of Lucien
Freud and R.B. Kitaj, Auer-
bach has his works included
in 48 museum collections
worldwide, including the
Tate Gallery in London,
the Israel Museum in
Jerusalem, the Metropolitan
Museum of Art in New York, the
Museo de Arte Moderno de
Bahia in Salvador, and the Na-
enjoyed their teacher's less ur- tional Gallery of South Africa in
bane approach to education. Mr. Capetown.
Two paintings from 1990 and
Auerbach remembers Mr.
1991
and two prints from 1994
Bomberg asking his students to
"actually comprehend the by Frank Auerbach are featured
weight, the twist, the stance of in "Portrait of Our Time." Oth-
a human being anchored by er artists whose work is includ-
gravity, and to produce a sou- ed are Robert Arneson, John
Coplans, Vincent Desiderio, Lar-
venir of that."
Since 1956, Mr. Auerbach ry Fink, Judy Fox, Viola Frey
has painted 10 hours a day, and Lorna Simpson. An illus-
seven days a week in the same trated catalog, with an essay by
cave-like studio in London. The David Ebony, accompanies the
only color and light that em- exhibition.
Revolution: A Gallery Project
anate from the room is the paint
is located half a mile south of
itself.
A bed, a chair for the model, 1-696 at 23257 Woodward
an easel and table are the sum Ave. in Ferndale. Gallery hours
total of his furniture require- are Tuesday through Saturday,
ments. Mr. Auerbach says this 10 a.m. - 6 p.m.; Thursday, 10
allows him to concentrate on a.m.- 8 p.m.; and by appoint-
what is most important: paint- ment.
ing.

❑

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