Ruth Bromberg Seated I 1994

Editor: Here we have Frank Auerbach's 1994 graphite drawing, "Ruth Bromberg Seated I". It's a very energetic, almost frenetic sketch, capturing a seated figure. What do you see in this piece, considering Auerbach’s overall practice? Curator: I see a struggle, and within it, a profound engagement with the sitter and the act of representation itself. Auerbach, deeply influenced by post-war existentialism, often portrays figures marked by a sense of displacement and resilience. This isn't simply a portrait; it's an exploration of identity. Look at the density of the graphite lines. Where do they seem most concentrated? Editor: Definitely around the face and the shoulders. There's a real weight to it. Curator: Precisely. This layering and reworking, characteristic of Auerbach's process, can be interpreted as a visual metaphor for the complex and often contradictory layers of the self, particularly within the context of post-war Europe. How does the sitter’s pose, the act of being “seated”, factor into your interpretation? Editor: The fact that she is seated could emphasize the burdens placed upon her, or her place as a women during that time in history. It might reflect themes of confinement or a desire for a defined position in the world? Curator: Yes, precisely! Auerbach often challenged conventional notions of portraiture, and he used expressionistic techniques to engage ideas concerning cultural context. It compels us to look beyond the surface. Editor: This really adds layers of meaning I wouldn't have picked up on initially. Now it feels less like a simple drawing and more like an investigation of the human condition. Curator: Exactly, seeing art within different critical perspectives unlocks many layers, it makes for enriching conversation and deeper engagements with our own selves!