Auerbach and Rembrandt share the language of great artby Wessie du Toit / October 7, 2013 / Leave a comment
Frank Auerbach, Primrose Hill, Summer Sunshine (1964). (© Frank Auerbach/Courtesy of Marlborough Fine Art)
Frank Auerbach’s studio, where the painter has worked day and night for almost sixty years, has long been treasured by journalists, photographers and art historians. The dusty room in Camden, devoid of worldly possessions and inhabited by “stratified chunks of paint,” has itself been painted continuously in words, as if visitors are intoxicated by turpentine and charcoal dust. Artists’ workplaces often create magical atmospheres, and these studio narratives fill me with jealousy. But it seems that the urge to describe this room stems also from the fact that Auerbach himself is so difficult to grasp.