Rimbaud 1976

Editor: So here we have Frank Auerbach’s "Rimbaud," created in 1976, an oil painting. The impasto is so thick! It's almost sculptural. It feels really… chaotic, but deliberate. What do you see in it, especially concerning his process? Curator: The materiality is key. Notice the sheer volume of oil paint Auerbach applied. He built up layer upon layer, scraping away and reworking the surface. Consider the physical labor involved – the constant struggle with the medium itself. Does this relentless working of the material, this additive and subtractive process, suggest anything about the subject "Rimbaud," and perhaps Auerbach's view of him? Editor: I suppose it conveys a sense of restless searching, of something always being re-evaluated or challenged. It also brings up the economic value inherent in that much material being used! Was that amount of paint typical for Auerbach? Curator: Indeed. Auerbach often worked this way. He was obsessed with capturing the essence of his subjects through relentless manipulation of his materials. This goes against the notion of art as purely intellectual creation. He’s deeply invested in the physical act of painting. What effect do you think this intensive method had on the final artwork and its reception? Editor: I guess people either appreciate the raw materiality or dismiss it as overworked. But thinking about the process really highlights the effort and physicality embedded in the artwork, shifting away from purely representational or aesthetic concerns. It almost becomes about the work of creating, more than the final image. Curator: Exactly. It’s a testament to the artist’s physical engagement with his materials and offers insight into the context surrounding artistic creation and even economic conditions during the mid-1970s. Editor: I never considered it in that light. Thanks for sharing that.