Paperback edition of a highly aclaimed 1990 monograph which was the first full study of the artist's work, with 254 illustrations, 174 in duotone and 80 in colour. Auerbach himself selected the paintings for the book as representing the most important of his career. The author is a well-known writer, critic and television presenter and art critic of TTime' magazine. Previous books include TThe Shock of the New' and TThe Fatal Shore'.
Martin Gayford’s masterful account of painting in London from the Second World War to the 1970s, illustrated by documentary photographs and the works themselves The development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley. Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint.
“An extraordinary record of a great artist in his studio, it also describes what it feels like to be transformed into a work of art.” —ARTnews Lucian Freud (1922-2011), widely regarded as the greatest figurative painter of our time, spent seven months painting a portrait of the art critic Martin Gayford. The daily narrative of their encounters takes the reader into that most private place, the artist’s studio, and to the heart of the working methods of this modern master—both technical and subtly psychological. From this emerges an understanding of what a portrait is, but something else is also created: a portrait, in words, of Freud himself. This is not a biography, but a series of close-ups: the artist at work and in conversation at restaurants, in taxis, and in his studio. It takes one into the company of the painter for whom Picasso, Giacometti, and Francis Bacon were friends and contemporaries, as were writers such as George Orwell and W. H. Auden. The book is illustrated with many of Lucian Freud’s other works, telling photographs taken by David Dawson of Freud in his studio, and images by such great artists of the past as van Gogh and Titian who are discussed by Freud and Gayford. Full of wry observations, the book reveals the inside story of how it feels to pose for a remarkable artist and become a work of art.
The Rijksmuseum and Ordovas are staging a unique joint exhibition in the autumn, centred around paintings and etchings by Rembrandt (1606–1669) on loan from the collection of the Rijksmuseum, in conversation with paintings by Frank Auerbach (b. 1931). The exhibition brings together a striking group of landscapes and portraits by Rembrandt Harmensz. van Rijn, and Frank Auerbach, the renowned British artist. Frank Auerbach is a painter steeped in tradition and his engagement with the Old Masters, and Rembrandt in particular, is well known and documented. He has been making drawings from, and occasionally producing paintings in response to, the Rembrandts and other Old Masters in the collection of the National Gallery throughout his career, as demonstrated in the 1995 exhibition at the National Gallery, 'Frank Auerbach and the National Gallery: Working after the Masters'.0Exhibition: Ordovas Gallery, London, UK (4.10.-1.12.2013) / Rijksmuseum Amsterdam, the Netherlands (12.12.2013-16.3.2014).
"The catalogue records details of the impressions in the collection of the Fitzwilliam Museum, but it also serves as a catalogue raisonné of Auerbach's intaglio prints" --P. 12.
Born into a mining family in rural Cumberland, British painter Sheila Fell (1931-79) studied at Carlisle College of Art, then at St Martin's School of Art in London. Sheila Fell's tragic early death in 1979 cut short her burgeoning artistic career. This book offers a comprehensive study of her life and work.
Dramatically reinventing the lineage of Goya, Sargent and Manet, Lynette Yiadom-Boakye imbues the Black subjects in her paintings with atmospheric grace and elegance Taking inspiration from the techniques of historic European portraiture, Lynette Yiadom-Boakye's oil paintings could almost be from a much older era if it were not for the contemporary details of the Black subjects that populate her work. Though her subjects are people conjured in her imagination, Yiadom-Boakye imbues her portraits with a near-tangible spirit through her deliberate brush strokes and rich dark tones. The result is paintings that seem to exist outside of time while still remaining grounded in reality. This lavishly illustrated volume of nearly 80 paintings and drawings--some of which have never been exhibited before--accompanies the first major survey of Yiadom-Boakye's work, shown at Tate Britain. In addition to new fiction writing by the artist, this publication includes in-depth thematic essays on Yiadom-Boakye's artistic development, reflecting the dual aspects of the artist's career as both a painter and a writer and offering an intimate insight into her creative process. Lynette Yiadom-Boakye (born 1977) is a British artist and writer acclaimed for her atmospheric oil paintings that depict imagined sitters in dark color palettes, executed with a contemporary sensibility while still rooted in an art historical practice. She attended Central Saint Martins School of Art and Design, Falmouth College of Art and the Royal Academy Schools. In 2018, she was awarded the prestigious Carnegie Prize.
