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The Landscape Paintings of Frank Auerbach and Leon Kossoff

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The Landscape Paintings of Frank Auerbach and Leon Kossoff City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2017 On London Ground: The Landscape Paintings of Frank Auerbach and Leon Kossoff Lee Hallman The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2104 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ON LONDON GROUND: THE LANDSCAPE PAINTINGS OF FRANK AUERBACH AND LEON KOSSOFF by Lee Hallman A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 © 2017 LEE HALLMAN All Rights Reserved ii On London Ground: The Landscape Paintings of Frank Auerbach and Leon Kossoff by Lee Hallman This manuscript has been read and accepted for the Graduate Faculty in Art History to satisfy the dissertation requirement for the degree of Doctor of Philosophy. __________________ ____________________________________ Date Dr. Emily Braun Chair of Examining Committee __________________ ____________________________________ Date Dr. Rachel Kousser Executive Officer Supervisory Committee: Dr. Judy Sund Dr. Mary Ann Caws Dr. Tim Barringer THE CITY UNIVERSITY OF NEW YORK iii Abstract On London Ground: The Landscape Paintings of Frank Auerbach and Leon Kossoff by Lee Hallman Advisor: Dr. Emily Braun This dissertation is the first critical analysis of the parallel, seven-decade-spanning urban landscape oeuvres of British painters Frank Auerbach (b. 1931) and Leon Kossoff (b. 1926). Since the post-World War II era of widespread political, geographical, and psychological displacement, when the practice of observation-based landscape painting had all but disappeared from international advanced art, Auerbach, who came to England in 1939 as a German-Jewish child refugee from the Nazis, and Kossoff, a first-generation Londoner of Ukrainian-Jewish heritage, have obstinately pursued an art of place. As art students in London, the two simultaneously developed laborious painterly processes of accumulation and scraping based in on-site drawings of the motif in order to convey their sensory experiences of the ever-changing city: from the massive upheaval of the Reconstruction-era building sites both represented in the 1950s to the animations of the everyday streets, parks, and railway stations they depict in their subsequent, separate, locally-rooted practices. The resulting images, which hover between illusionistic form and abstract brushwork, expand the visual languages of representation and complicate the established discourses of international postwar painting by refusing any notion of a binary between abstraction and figuration. My dissertation argues that together, Auerbach and Kossoff have not only produced an unprecedented visual portrait of postwar and contemporary London, but also that these two urban, iv Jewish artists of non-British background have each revitalized the deeply “British” legacy of landscape depiction by expanding the genre’s range of subject matters, modes of representation, and the processes by which landscape paintings are made and viewed. Building on the phenomenological approach to the artists’ works established by David Sylvester, my chapters merge close visual analysis with social and cultural history to offer original interpretations of Auerbach’s and Kossoff’s images and sequences. My project proposes that the artists’ dual body of London landscapes challenges the naturalist and nationalist assumptions of the landscape tradition, evinces the unique and understudied contributions of postwar British painting, and reveals the ongoing significance of place as a subject of artistic attention in the rapidly shifting modern and contemporary world. v Contents List of Illustrations vii Acknowledgments xii Prelude Unpainted City 1 1 Introduction: Frank Auerbach, Leon Kossoff, and the Landscape of Postwar Painting 10 2 Echoes of Creation: Auerbach’s and Kossoff’s London Building Site Paintings 47 3 Auerbach’s Landscapes of Discovery 105 4 Kossoff’s London Body 164 5 Conclusion: Two Trees 214 Bibliography 218 Figures 235 vi List of Illustrations Prelude 0.1. Joseph Stella, Brooklyn Bridge, 1919-20. Oil on canvas. Yale University Art Gallery. 0.2. Georgia O’Keeffe, The Shelton with Sunspots, N.Y., 1926. Oil on canvas. Art Institute of Chicago. 0.3. Claude Monet, Waterloo Bridge, London, 1904. Oil on canvas. Carnegie Museum of Art, Pittsburgh. 0.4. Oskar Kokoschka, London, Large Thames View I, 1926. Oil on canvas. Albright Knox Art Gallery. 0.5. Walter Sickert, The Old Bedford, 1894-95. Oil on canvas. National Museums Liverpool. 0.6. David Bomberg, In the Hold, c. 1913-14. Oil on canvas. Tate, London. 0.7. Wyndham Lewis, The Crowd, 1914-15. Oil on canvas. Tate, London. 0.8. Christopher Richard Wynne Nevinson, London, Winter with St. Paul’s and Sea Gulls, 1928. Tempera on board. Museum of London. 0.9. William Coldstream, St. Pancras Station, 1938. Oil on canvas. Private Collection. 0.10. 1941: Bomb damage around St. Paul’s Cathedral in the City of London. Photograph. 0.11. John Piper, Christ Church, Newgate Street, London, 1941. Oil on canvas. Museum of London. 0.12. Graham Sutherland, Devastation, 1941: City, Twisted Girders, 1941. Gouache, charcoal and ink on paper. Ferens Art Gallery, Hull. 0.13. William Coldstream, London Bombed Site 1946 (St. Nicholas Cole Abbey and Bow Church), 1946. Oil on canvas. British Council Collection. 0.14. Frank Auerbach, Mornington Crescent – Early Morning, 1991. Oil on canvas. 0.15. Leon Kossoff, Between Kilburn and Willesden Green, Winter Evening 1992. Oil on board. Scottish National Gallery of Modern Art, Edinburgh. 1 1.1. Frank Auerbach, Head of Leon Kossoff, 1954. Oil on canvas. 1.2. Leon Kossoff, Portrait of Frank Auerbach, 1953. Oil on board. 2 2.1. Cover of The County of London Plan, 1945. 2.2. The Shell Building construction site, c. 1958-59. Photograph. 2.3. Frank Auerbach, Building Site, Bruton Street: winter, 1953. Oil on board. New Walk Museum and Art Gallery, Leicester. 2.4. Leon Kossoff, Building Site with St. Paul’s, no.1, 1956. Oil on board. 2.5. Jean Dubuffet, Knoll of Visions (La butte aux visions), 1952. Oil on Masonite. Solomon R. Guggenheim Museum, New York. 2.6. Alberto Giacometti, The Square II, 1948-49. Bronze. 2.7. Francis Bacon, Head I, 1948. Oil and tempera on board. vii 2.8. Chaïm Soutine, Landscape at Céret (Paysage à Céret), c. 1920-21. Oil on canvas. Tate, London. 2.9. Willem de Kooning, Easter Monday, 1955-56. Oil and newspaper transfer on canvas. Metropolitan Museum of Art, New York. 2.10. Muirhead Bone, The Great Gantry, Charing Cross Station, 1906-07. Drypoint. National Gallery of Victoria, Melbourne. 2.11. Gustave Doré, Over London - by Rail, from London: A Pilgrimage, 1872. Engraving. 2.12. George Bellows, Excavation at Night, 1908. Oil on canvas. Crystal Bridges Museum of American Art, Bentonville. 2.13. Joseph Mallord William Turner, The Parting of Hero and Leander, before 1837. Oil on canvas. National Gallery, London. 2.14. Giovanni Piranesi, Carceri, Plate XIV, 1745. Etching. 2.15. Frank Auerbach, Study after Turner’s The Parting of Hero and Leander (recto); Sketch of a Building Site (verso), c. 1952. Pencil on paper. 2.16. David Bomberg, Trendrine, Cornwall, 1947. Oil on canvas. Arts Council Collection, London. 2.17. Rembrandt, A Woman bathing in a Stream (Hendrickje Stoffels?), 1654. Oil on oak. National Gallery, London. 2.18. Frank Auerbach, Summer Building Site, 1952. Oil on board. 2.19. Frank Auerbach, Building Site, Earls Court Road: Winter, 1953. Oil on board. 2.20. Leon Kossoff, Head of Seedo, 1952. Charcoal on paper. Trustees of the British Museum. 2.21. Frank Auerbach, Study for Building Site, Bruton Street: winter, c. 1952-53. Pen and ink, watercolor and pastel on paper. 2.22. Frank Auerbach, Building Site, Bruton Street: winter, 1953. Oil on board. New Walk Museum and Art Gallery, Leicester. 2.23. Leon Kossoff, Railway Bridge, Mornington Crescent, 1954. Oil on board. 2.24. Herbert Mason, “St. Paul’s Survives.” December 30, 1940. Photograph. 2.25. David Bomberg, Evening in the City of London, 1945. Charcoal on paper. Ashmolean Museum, Oxford. 2.26. David Bomberg, Evening in the City of London, 1944. Oil on canvas. Museum of London. 2.27. Leon Kossoff, Building Site, St. Paul’s, 1954. Charcoal on paper. 2.28. Leon Kossoff, St. Paul’s Building Site, 1954. Oil on board. 2.29. New Change House under construction, 1955. Photograph. 2.30. Frank Auerbach, Sketch for Building Site near St. Paul’s: winter, c. 1955. Pencil and ink on paper. 2.31. Frank Auerbach, Building Site near St. Paul’s: winter, c. 1955. Oil on board. 2.32. Jack Smith, After the Meal, 1952. Oil on canvas. Arts Council Collection, London. 2.33. Frank Auerbach, Victoria Street Building Site, 1959. Oil on board. Ferens Art Gallery, Hull. 2.34. Leon Kossoff, Building Site, Victoria Street, 1961. Oil on board. Arts Council Collection, London. 2.35. Leon Kossoff, Coffee Stall near St Paul’s, 1950. Gouache on paper. 2.36. Leon Kossoff, Demolition of the YMCA Building Site, 1970. Oil on canvas. 2.37. Leon Kossoff, Shell Building Site, 1962. Oil on board. 2.38. Frank Auerbach, Shell Building Site: Workmen under Hungerford Bridge, c. 1958-61. Oil on board. viii 2.39. Frank Auerbach, Shell Building Site: from the Festival Hall, 1959. Oil on board, Gray Art Gallery and Museum, Hartlepool. 2.40. Frank Auerbach, Shell Building Site: from the Thames, 1959. Oil on board. Museo Thyssen-Bornemisza, Madrid. 2.41. Rembrandt, The Lamentation of the Dead Christ, c. 1635. Oil on paper and pieces of canvas, mounted onto oak. National Gallery, London.
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