# data[].attributes.body
contraste de colores, desequilibrio, variedad

# data[].attributes.attachment_link.readable_text
This vibrant landscape is one of a number by the artist depicting Mornington Crescent, the area in Camden Town, north London, where he has lived and worked in a studio since 1954, when it was vacated by his artist friend and contemporary Leon Kossoff (and before him the German-Jewish artist Gustav Metzger). It is painted with the distinctive heavy impasto which characterises Auerbach's work. In his portraits and nudes, as well as urban landscapes, Auerbach frequently returns to the same subject. Here, using a lively yellow and blue palette that contrasts with the earthy tones of his earlier urban scenes, he transforms the choking London traffic into a vigorous surge of pigment. The date '2004' scratched into the paintwork suggests the urgency and transience of both life and art.

A German-Jewish émigré with a focus on a particular 'home' location and a 'family' of familiar sitters, Auerbach's work has a particular resonance for the exploration of issues of identity and migration. As Auerbach himself has commented of his background: 'I wasn't British born, [...] I didn't have a family and I didn't have anything to anchor me to whatever was going on'. Mornington Crescent, Summer Morning II combines the artist's focus on familiar architectural structures together with a sense of place. Auerbach deliberately restricts his landscape motifs, concentrating especially on London locations and foregrounding the area around his studio and its distinctive features, which include the landmark chimney.

This painting was acquired in 2006 to fill a longstanding gap in the Ben Uri collection and has since been exhibited on numerous occasions including for the day at Surrey Street Primary School, Luton, in the initiative 'Your Paintings: Masterpieces in Schools', in association with BBC & The Public Catalogue Foundation in October 2013 and featured on 'Front Row', BBC Radio 4.

# data[].attributes.attachment_link.title
Mornington Crescent, Summer Morning II - Frank Auerbach - Google Arts & Culture

# data[].attributes.attachment_link.description
This vibrant landscape is one of a number by the artist depicting Mornington Crescent, the area in Camden Town, north London, where he has lived and worked...

# data[].attributes.body
veo mucha tristeza y soledad, desequilibrio, movimiento

# data[].attributes.attachment_link.readable_text
To paint the same head over and over leads to unfamiliarity; eventually you get near the raw truth about it, just as people only blurt out the raw truth in the middle of a family quarrel.[1]Julia Yardley Mills is unusual amongst Frank Auerbach's models in that she is a professional. She began sitting for him at Sidcup Art College in the 1950s, and, over weekly sittings up until 1997, maintained a consistently stately bearing - head raised to look upwards out of the canvas - that tended to lead Auerbach to respond, as here, by rendering the hollow of her left eyesocket with two decisive strokes that produced a left-facing chevron.

Another product of this working relationship was the pair becoming "real friends"[2] and devising the nicknames "Frankie" and "Jimmie". The latter serves as a corrective to the rather mechanical, impersonal note struck by the initials, "J.Y.M.", from which they derive. Other sitters have ranged from the painter's wife and son, to the writers and curators William Feaver and Catherine Lampert. These last two - who tend to bow their heads to be painted - have written about the pacing, muttering, gestures, literary talk, grimaces, and periods of silence that fill their regular weekly 2-hour appointments in his London studios.

"We are there to enable him to perform", Feaver thinks.[3] To the rest of us, the experience remains, as someone else's intimacy, alien in way that is proportionate to how vividly Auerbach conjures it. Looking at this painting is both an intrusion and a privileged insight, like watching a couple joke or argue on a claustrophobically-set stage, to follow Feaver's theatrical lead. It was theatre, in fact, which brought Auerbach one of his first models, the older 'E. O. W.', with whom he began an affair at a cast party for Peter Ustinov's House of Regrets.Similar face-to-face interactions from which the public would otherwise be excluded used to go on in the National Gallery, late at night. Using the institution for the purpose for which it was founded - the enrichment of British painting - Auerbach would regularly sketch "portraits of the paintings that inspired him", according to Colin Wiggins,[4] often to work his way out of graphic problems he'd come across in his studio at the other side of London. "After a certain point", he told Feaver, "I got fed up of drawing at the National Gallery and after '85 or '90 I haven't at all."[5].

To subsequent generations of painters such as Glenn Brown, however, Auerbach has taken his own place as an Old Master to be learnt from and responded to:

No matter how wildly abstract the works is, you feel the presence of the human form, in the snakes and ladders of the brushwork.[6].

This is what Auerbach was aiming for: "what you feel when you touch somebody next to you in the dark."[7] Brown has reworked the strokes of a 1973 Head of J.Y.M from a reproduction and flattened them, and, conversely, constructed sculptures that look like Auerbachian brushstrokes aborted from their paintings. More emphatically than is possible in text, this work stresses how much 3-D physical presence is a part of Auerbach's effect, and how much this seems a product of the tension between painted, and photographic images, such as the one you see here.

© Tom Overton, 2010.

1. William Feaver, Frank Auerbach ( New York: Rizzoli, 2009), p.17.

2. Frank Auerbach: Paintings and Drawings 1954-2001 [exh. cat.] (London: Royal Academy, 2001), p.7.

3. William Feaver, 'In the Studio', London Review of Books, Vol. 31, No. 20, 22th October 2009, p.32 .

4. Frank Auerbach and the National Gallery: Working after the Masters [exh. cat.] ( London: National Gallery, 1995), p.8.

5. Feaver, Auerbach, p.19.

6. Interview with Laurence Sillars, Glenn Brown [exh.cat.](Liverpool: Tate, 2009), p.144.

7. Interview with Judith Bumpus, Art and Artists, June 1986, p.24.

# data[].attributes.attachment_link.title
Head of JYM III - Frank Auerbach - Google Arts & Culture

# data[].attributes.attachment_link.description
To paint the same head over and over leads to unfamiliarity; eventually you get near the raw truth about it, just as people only blurt out the raw truth in...

# data[].attributes.body
proporción, contraste

# data[].attributes.attachment_link.readable_text
This painting, in which a couple from the Palace have been depicted in a Turkish-style room, is a Turquerie by Jeaurat, one of the painters defined by Boppe as " Turkish painters". These painters who had never been to the Ottoman Empire produced orientalist pictures, with figures in Turkish costumes which were correctly rendered. They also included accessories like the rococo style velvet stool typical of European interior decoration. Another painting with a similar composition, by the same artist, is found at the Musée Groesbeeck de Croix in Namur.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

# data[].attributes.attachment_link.title
The Favourite Sultana - Étienne Jeaurat - Google Arts & Culture

# data[].attributes.attachment_link.description
This painting, in which a couple from the Palace have been depicted in a Turkish-style room, is a Turquerie by Jeaurat, one of the painters defined by Bopp...

# data[].attributes.body
siento mucha jerarquía en la mujer, proporción con las barcas etc

# data[].attributes.attachment_link.readable_text
Göksu was one of 19th century Istanbul's favorite destinations for open air excursions, and the painting portrays holiday-goers in rowboats. In addition to his portraits, Zonaro painted many women in settings from their daily lives. In the foreground of the painting we see an Istanbul lady with her face unveiled. Other figures in rowboats can be seen in the background. The line of seaside villas along the shore ends with the fortress of Anadolu Hisarı. The cream-colored costume of the figure in the foreground is believed to indicate that the painting is from the artist's San Remo period.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

# data[].attributes.attachment_link.title
Amusement at Göksu - Fausto Zonaro - Google Arts & Culture

# data[].attributes.attachment_link.description
Göksu was one of 19th century Istanbul's favorite destinations for open air excursions, and the painting portrays holiday-goers in rowboats. In addition to...

# data[].attributes.body
veo mucho desequilibrio y asimetría

# data[].attributes.attachment_link.readable_text
This work is a study for the painting of the same name. Auerbach has said of his morning drawing routine in London: 'I go out each morning and I draw. I can't really start on a painting in the morning until I've done a drawing [...] I feel dissatisfied with what I'm doing, so I go out and once I've been provided with a reason for changing my picture I can come back to the studio and change it - usually it is a new sensation of proportion or connection, often revealed by light'.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

# data[].attributes.attachment_link.title
Study for Mornington Crescent, Summer Morning II - Frank Auerbach - Google Arts & Culture

# data[].attributes.attachment_link.description
This work is a study for the painting of the same name. Auerbach has said of his morning drawing routine in London: 'I go out each morning and I draw. I ca...

# data[].attributes.body
veo mucho desequilibrio y confusión en los sentimientos del artista

# data[].attributes.attachment_link.readable_text
Jake Auerbach (b. 1958) is a producer and documentary film maker, whose work includes a series on contemporary artists such as Paula Rego, Allen Jones, Lucian Freud and his father Frank Auerbach. This lithograph is part of a series of etchings of friends and family entitled Seven Portraits, drawn by the artist with a Japanese screwdriver bought from his local Woolworth's. The etchings were made to accompany the deluxe edition of Robert Hughes' Frank Auerbach monograph in 1990 and were proofed and printed by Marc Balakjian at Studio Prints.

The portrait of Jake demonstrates a strong similarity to Auerbach's expressive impasto painting. In etching, the longer the plate is exposed to acid, the more deeply-bitten the resulting lines will be. Jake's plate was initially bitten for over four hours, then Auerbach added further lines and the plate was bitten for another nine hours, culminating in a thickness of form which distinguishes it from the other sitters in Seven Portraits.

# data[].attributes.attachment_link.title
Jake - Frank Auerbach - Google Arts & Culture

# data[].attributes.attachment_link.description
Jake Auerbach (b. 1958) is a producer and documentary film maker, whose work includes a series on contemporary artists such as Paula Rego, Allen Jones, Luc...

# data[].attributes.body
veo equilibrio en los edificios y mucha repetición en estos, símetria..

# data[].attributes.attachment_link.readable_text
The painting is a copy of the composition printed as an engraving in the first volume of Thomas Allom's book Constantinople and Scenery of Seven Churches of Asia Minor. In this painting, the Ottoman artist Civanyan uses the above-mentioned source to depict an older view of Istanbul that predates him. Although it is not reflected in Civanyan's painting, according to Walsh, Said Pafla, took advantage of a privilege that was not granted to the non-Muslim subjects of the Empire, and had his mansion painted in a rose colour to imply his marital bliss with this symbolic color. While this non-extant mansion in Bebek, which once belonged to Said Pafla -who was married to Mahmud II's daughter Mihrimah Sultan- dominates the painting, the work also reflects various segments of daily life of Istanbul, a city surrounded by seas. Among such details, the porters pulling the boats along the shore -as this is the part of the Bosphorus with the strongest current- are particularly striking.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

# data[].attributes.attachment_link.title
Said Paşa Waterfront Mansion - Megerdich Jivanian - Google Arts & Culture

# data[].attributes.attachment_link.description
The painting is a copy of the composition printed as an engraving in the first volume of Thomas Allom's book Constantinople and Scenery of Seven Churches o...

# data[].attributes.attachment_caption
tiene el mismo peso visual a cada lado de la imagen

# data[].attributes.attachment_caption
representación de una figura principal y fondo neutro

# data[].attributes.attachment_caption
esta varias veces representado el mismo elemento

# data[].attributes.attachment_caption
las figuras mas importantes tienen mayor tamaño

# data[].attributes.body
Es equilibrio, ya que ocupa lo mismo en un lado que en el otro. Esta en equilibrio la imagen

# data[].attributes.body
Se puede apreciar que lo importante es más grande, como por ejemplos los personajes que aparecen.

# data[].attributes.body
aquí podemos ver cómo muestra con mayor importancia lo mas grande y con menor lo mas pequeño

# data[].attributes.body
Es continuidad, ya que continuo porque no sabes donde acaba ya que no se le ve el fondo

# data[].attributes.body
Se puede ver el cambio de color brusco que hay.

# data[].attributes.body
Es unidad, ya que se retrata a la persona y nada mas fijarte en el cuadro lo primero que ves es a ala persona

# data[].attributes.body
Es jerarquía, ya que esta ordenados del mas importante en el medio y en grande y el menos en pequeño y en alguna esquina.

# data[].attributes.body
Es contraste de luz. Es contrate de luz ya que se pueden distinguir la diferencia de color y de luminosidad.

# data[].attributes.attachment_caption
en esta imagen se aprecia una clara continuidad

# data[].attributes.body
me parece una forma de propaganda interesante y muy visible

# data[].attributes.body
Se representa el elemento principal y el fondo es lo más neutro posible.

# data[].attributes.body
Porque se repite la figura.

# data[].attributes.body
Se puede ver que hay un peso visual en cada lado.

# data[].attributes.body
podemos observar como la arruga del mantel continua con el brazo de la mujer

# data[].attributes.body
en esta contrastan el color blanco y el negro(que corresponde mayor espacio en esta obra)

# data[].attributes.body
en esta imagen podemos observar como el elemento principal (de color negro) contrasta con el fondo (colores claros)

# data[].attributes.body
en esta imagen podemos observar que el mismo elemento se repite varias veces por toda la imagen

# data[].attributes.body
esta imagen transmite mucha armonia

# data[].attributes.body
en esta escultura se puede observar el equilibrio entre ambas partes

# data[].attributes.body
creo que esta imagen define muy bien el estilo al que pertenece

# data[].attributes.body
se representa la unidad en esta imagen ya que el elemento prcipal es el que mas destaca, mientras el fondo es de un color oscuro y monotono

# data[].attributes.attachment_caption
Escogí esta imagen porque se repite la misma persona.

# data[].attributes.body
Esta imagen tiene equilibrio porque aunque Diego sea más alto que Frida, el cartel de arriba compensa la composición.

# data[].attributes.body
En esta imagen se puede ver repetidas veces los elementos que la componen.

# data[].attributes.body
En este dibujo antiguo egipcio los Dioses al ser más importantes aparecen en grande.

# data[].attributes.body
Los azulejos son una repetición de elementos para formar patrones. En este caso por un lado círculos y por otro líneas diagonales.

# data[].attributes.body
Este cuadro muestra Unidad

# data[].attributes.body
Esta imagen da sensación de que el camino continua y te hace seguirlo con la mirada.

# data[].attributes.body
Este cuadro te guia la mirada

# data[].attributes.body
En este cuadro hay un camino y una continuidad desde la izquierda a la derecha con los dos personajes.

# data[].attributes.body
En este cuadro de Van Gogh hay contraste de colores con el amarillo del campo y el azul del cielo.

# data[].attributes.body
Da sensación de unidad ya que la imagen se centra en la persona retratada.

# data[].attributes.body
Se puede ver como claramente destaca la bufanda negra al ser todo lo demás diferente.

# data[].attributes.body
Aquí podemos ver la repetición de la misma figura varias veces y da la sensación de un túnel

# data[].attributes.body
Este cuadro muestra equilibrio y calma con líneas rectas y simples

# data[].attributes.body
En esta imagen se puede ver claramente que se le da mucha más importancia a la virgen que al resto de elementos.

# data[].attributes.body
En el cuadro de La Joven de La Perla lo más importante es la chica y la perla, el fondo es sencillo y resalta el dibujo. Es unidad

# data[].attributes.body
En esta imagen se puede ver equilibrio ya que hay el mismo peso visual en ambos lados.

# data[].attributes.body
Esta foto representa la jerarquía porque usa el tamaño para dar importancia de los personajes.

# data[].attributes.body
En esta imagen hay contraste entre las líneas.

# data[].attributes.body
Se representa a lo más importante más grande.

# data[].attributes.body
Da la sensación de que la ola sigue hacia la derecha.

# data[].attributes.body
Se aprecia un equilibrio en ambos lados.

# data[].attributes.body
Se representa el elemento principal con el fondo más neutro posible.

# data[].attributes.body
Se repite la misma estructura de la persona tres veces.

# data[].attributes.body
se aprecia contraste en la luminosidad