Reclining Figure I 1966

Frank Auerbach made this painting, Reclining Figure I, in 1966 with an intense palette of blues and purples, traversed by bold black lines that both define and dissect the composition. I can imagine Auerbach attacking the canvas, layering strokes upon strokes, almost sculpting the paint into a form that barely contains the figure within. It’s as though he’s wrestling with the subject, trying to capture not just the appearance but the very essence of it. The thick impasto and the agitated brushwork suggest a kind of urgency, a need to express something profound. The black lines aren't just outlines; they're like structural supports, holding the image together while also threatening to collapse it. Auerbach’s work reminds me of other painters like Bomberg, who also sought to capture the raw energy of the world through paint. It makes me think about how painting is a form of translation, where artists take what they see and feel and transform it into something tangible. There's a conversation happening across time, where each artist builds upon the discoveries and struggles of those who came before, inspiring new ways of seeing and being in the world.