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Kontrastphänomene in Den Porträts Von Frank Auerbach

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Kontrastphänomene in Den Porträts Von Frank Auerbach Originaldokument gespeichert auf dem Dokumentenserver der Universität Basel edoc.unibas.ch Dieses Werk ist unter dem Vertrag „Creative Commons Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung 3.0 Schweiz“ (CC BY-NC-ND 3.0 CH) lizenziert. Die vollständige Lizenz kann unter creativecommons.org/licenses/by-nc-nd/3.0/ch/ eingesehen werden. Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung 3.0 Schweiz (CC BY-NC-ND 3.0 CH) Sie dürfen: Teilen — den Inhalt kopieren, verbreiten und zugänglich machen Unter den folgenden Bedingungen: Namensnennung — Sie müssen den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen. Keine kommerzielle Nutzung — Sie dürfen diesen Inhalt nicht für kommerzielle Zwecke nutzen. Keine Bearbeitung erlaubt — Sie dürfen diesen Inhalt nicht bearbeiten, abwandeln oder in anderer Weise verändern. Wobei gilt: Verzichtserklärung — Jede der vorgenannten Bedingungen kann aufgehoben werden, sofern Sie die ausdrückliche Einwilligung des Rechteinhabers dazu erhalten. Public Domain (gemeinfreie oder nicht-schützbare Inhalte) — Soweit das Werk, der Inhalt oder irgendein Teil davon zur Public Domain der jeweiligen Rechtsordnung gehört, wird dieser Status von der Lizenz in keiner Weise berührt. Sonstige Rechte — Die Lizenz hat keinerlei Einfluss auf die folgenden Rechte: o Die Rechte, die jedermann wegen der Schranken des Urheberrechts oder aufgrund gesetzlicher Erlaubnisse zustehen (in einigen Ländern als grundsätzliche Doktrin des fair use bekannt); o Die Persönlichkeitsrechte des Urhebers; o Rechte anderer Personen, entweder am Lizenzgegenstand selber oder bezüglich seiner Verwendung, zum Beispiel für Werbung oder Privatsphärenschutz. Hinweis — Bei jeder Nutzung oder Verbreitung müssen Sie anderen alle Lizenzbedingungen mitteilen, die für diesen Inhalt gelten. Am einfachsten ist es, an entsprechender Stelle einen Link auf diese Seite einzubinden. Quelle: http://creativecommons.org/licenses/by-nc-nd/3.0/ch/ Datum: 12.11.2013 __________________________________________________________________________________ Verdichtung durch Reduktion – Kontrastphänomene in den Porträts von Frank Auerbach __________________________________________________ Dissertation zur Erlangung der Würde eines Doktors der Philosophie vorgelegt der Philosophisch-Historischen Fakultät der Universität Basel von Invar-Torre Hollaus von Mayrhofen im Zillertal/Österreich Buchbinderei Martin Fischer, Basel 2010 ___________________________________________________________________________ Genehmigt von der Philosophisch-Historischen Fakultät der Universität Basel, auf Antrag von Prof. Dr. Gottfried Boehm, Kunsthistorisches Seminar der Universität Basel (Referent) sowie von Prof. Dr. Robert Kudielka, Universität der Künste Berlin (Korreferent). Basel, den 8.12.2009 Der Dekan Prof. Dr. Jürg Glauser Verdichtung durch Reduktion – Kontrastphänomene in den Porträts von Frank Auerbach INHALTSVERZEICHNIS: Seite Danksagung I-III 1. Einleitung 1 2. Forschungsstand 9 I. Teil: Leben & kunsthistorische Einordnung des Schaffens 14 I.I. Biographische Anmerkungen und Hinführung an das Werk von Frank Auerbach 14 I.I.I. Kindheit in Berlin und Übersiedlung nach Großbritannien 14 I.I.II. Ausbildung und erste Schritte in die künstlerische Selbständigkeit 17 I.I.III. Mit Beharrlichkeit zum internationalen Durchbruch 21 I.II. Zur Rezeption von Auerbachs Werk im Umfeld der zeitgenössischen Englischen Kunst 23 I.II.I. „The School of London“ – Begriff und Rezeption 23 I.II.II. London – gemeinsamer Ort individueller Inspirationen 27 I.II.III. Die „School of London“ als künstlerische Diaspora? 32 I.II.IV. Auerbach vs. Jüdische Kunst und Deutscher Expressionismus 35 I.II.V. Zur Situation der Englischen Kunst nach 1945 45 I.III. Zum Einfluss der Französischen Moderne auf die Englische Kunst des 20. Jahrhunderts 50 I.III.I. Rezeption und Weiterentwicklung der Französischen Moderne in der Englischen Kunst zu Beginn des 20. Jahrhunderts 50 I.III.II. Zum Leben und Kunstverständnis von David Bomberg 51 I.III.III. Bombergs Affinität zu Berkeleys Theorie einer Optik 58 I.III.IV. Der Nachhall Cézannes in Bombergs Werk 62 I.III.V. Exkurs: Merleau-Pontys phänomenologischer Ansatz vs. Auerbachs Werk 66 I.IV. Zur Tradition der modernen Porträt- und figurativen Malerei in England 73 II. Teil: Werk 79 II.I. Entwicklung des Kunstverständnisses im Frühwerk 79 II.I.I. Der Aspekt der „Newness“ vs. Beschränkung der Bildmotive 81 II.I.II. Spezifische Kompositionsmerkmale von (Stadt)Landschaft und Porträt 85 II.I.III. Einzelbild vs. Bilderserie 88 II.I.IV. Präsentation und Größe der Bilder 95 II.II. Das Atelier 99 II.III. Das Modellsitzen 102 II.IV. Die Modelle („Sitters“) 112 II.IV.I. E.O.W. (Estella Olivia West/1951-1973) 115 II.IV.II. J.Y.M. (Juliet Yardley Briggs Mills/1957-1997) 118 Verdichtung durch Reduktion – Kontrastphänomene in den Porträts von Frank Auerbach II.IV.III. Julia Auerbach (seit 1959) 119 II.IV.IV. Jake Auerbach (seit 1976) 120 II.IV.V. Catherine Lampert (seit 1978) 122 II.IV.VI. David Landau (seit 1984) 123 II.IV.VII. William Feaver (seit 2003) 123 II.IV.VIII. Weitere Modelle 124 III. Teil: Wahrnehmung 128 III.I. Porträtmalerei – Referentialität und Mimesis 131 III.I.I. Wie zeigt sich Ähnlichkeit in Auerbachs Porträts? 133 III.I.II. Porträt vs. Karikatur 139 III.II. Wann ist ein Bild vollendet? 145 III.III. Die Dynamik der Linie – Zur Entwicklung der Zeichnungen 155 III.III.I. Die Kompaktheit des Strichs 160 III.III.II. Das Auflösen der Formen 164 III.III.III. Die Autonomisierung der Linie 169 III.III.IV. Beschleunigte Linien vs. Rhythmik des Bildgrunds 173 III.IV. Chaotische vs. deskriptive Linien in Zeichnungen und Gemälden 177 III.V. Figur vs. Hintergrund: Energetisches Strömen 183 III.VI. Der Bildraum als Ereignisraum: Zur Figuration der halb- und ganzfigurigen Porträts 188 III.VII. Paint vs. Colour – Farbmasse als Bildmasse 194 III.VII.I. Visuelle „Blindheit“ vs. Taktilität des Motivs 199 III.VII.II. Malerei als Palimpsest 203 III.VII.III. Die Eloquenz der Farbmaterie 205 III.VII.IV. Das „fleischliche“ Moment der Farbe 209 III.VIII. Aspekte der Temporalität in Auerbachs Schaffen 215 III.IX. Sehen vs. Schauen 218 III.X. Schlussbetrachtung: Verdichtung durch Reduktion 222 IV. Anhang IV.I. Bibliographie 228 IV.II. Abbildungsverzeichnis 251 Verdichtung durch Reduktion – Kontrastphänomene in den Porträts von Frank Auerbach DANKSAGUNG: Die vorliegende Dissertation ist über einen längeren Zeitraum gereift und in ihren substantiellen Teilen zwischen Mitte 2007 und Mitte 2009 entstanden. Ohne vielfältige kritisch-intellektuelle, freund-schaftliche und finanzielle Unterstützung, die ich von verschiedenster Seite erfahren habe, wäre dieses Vorhaben nicht realisierbar gewesen. Besonderer Dank gebührt an dieser Stelle Prof. Dr. Gottfried Boehm, Vorsteher des Kunst- wissenschaftlichen Instituts der Universität Basel sowie des Eikones-Bildkritik-Forschungsprojekts des Schweizerischen Nationalfonds, der nicht nur während des Studiums meine Wahrnehmung von Bildern entscheidend geprägt, sondern vor allem mich in meinem Vorhaben, eine Dissertation über die Porträts von Frank Auerbach zu verfassen, von Anfang an mit großem Interesse unterstützt hat. Dank seines präzisen Verständnisses und intellektuellen Gespürs konnte manch inhaltliche Klippe auf dem Weg bis zur endgültigen Fertigstellung umschifft und die Arbeit letztlich in einen sicheren Hafen ge- steuert werden. Für die bereitwillige Übernahme des Korreferats möchte ich Prof. Dr. Robert Kudielka von der Uni- versität der Künste in Berlin danken. Mit ihm konnte ich einen der wenigen ausgewiesenen Kenner Englischer Kunst außerhalb des angelsächsischen Sprachraums für mein Projekt gewinnen. Beide sind mir mit wertvollem Rat und fruchtbarer, konstruktiver Kritik zur Seite gestanden und haben auf vertrauensvolle, geduldige Art den Werdegang der Arbeit unterstützt und begleitet. In London habe ich vom Künstler selbst wie auch aus seinem direkten Umfeld uneingeschränkte Hilfe und großes Interesse an meinem Projekt erfahren dürfen. Ohne Vorbehalt kann gesagt werden, dass der persönliche Kontakt mit Frank Auerbach überaus gewinnbringende Impulse in diese Arbeit eingebracht hat, die mit nichts aufzuwiegen sind. Für sein angenehmes, unkompliziertes Wesen, sein brillantes Kunstverständnis sowie das Interesse an meiner Arbeit danke ich ihm sehr. Der Kontakt mit ihm ist menschlich wie intellektuell ungemein bereichernd und eine große Freude. Zu großem Dank bin ich der Londoner Galerie des Künstlers Marlborough Fine Art verpflichtet, ins- besondere ihrem Direktor Geoffrey Parton und Kate Austin, der verantwortlichen Leiterin von Auerbachs Archiv sowie für alle Angelegenheiten, die mit diesem Werk zu tun haben, wie auch Armin Bienger und dem weiteren Mitarbeiterstab, für ihre höchst professionelle und alles andere als selbst- verständliche Unterstützung sowie für ihr ausgeprägtes Interesse an meinem Projekt. Kate Austin hat mir wertvolle Kontakte vermittelt und war jederzeit geduldig und bereitwillig zur Stelle, um meine Anliegen seriös, schnell und absolut zuverlässig zu erledigen. Darüber hinaus hat sie mich auf groß- zügigste Weise mit längst vergriffenen Ausstellungskatalogen reichlich versorgt, wertvolles Quellen- material im Archiv zugänglich gemacht und Abbildungen digital übermittelt. I Verdichtung durch Reduktion – Kontrastphänomene in den Porträts von Frank Auerbach Überaus fruchtbar gestaltete sich zudem der persönliche Kontakt zu Catherine Lampert (Kuratorin und Gastprofessorin an der University of the
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