Podcast appearances and mentions of Frank Auerbach

During his lifetime, the late artist Frank Auerbach never had an exhibition in Berlin, the city of his birth, which he left for the UK in 1939 to escape the Nazis. This weekend, the first show of his work in the German capital opens at the Galerie Michael Werner. Our digital editor, Alexander Morrison, went to Berlin to talk to the artist's son, the filmmaker Jake Auerbach, about the exhibition. A new book by Dan Hicks, a curator at the Pitts River Museum in Oxford, UK, titled Every Monument Must Fall explores the origins of the fierce contemporary debates around colonialism, art, and heritage. It investigates in particular the acquisition of human remains and their ongoing place in museums and other historical institutions. Ben Luke spoke to him about the publication. And this week's Work of the Week is Republic (1995) by Ian Hamilton Finlay, whose centenary is being celebrated this year with a new publication and a series of exhibitions in London, Edinburgh, Palma de Mallorca, Brescia, New York, Hamburg, Basel and Vienna. Luke spoke to Stephen Ban, a long-term specialist in Finley's work, about this sculptural installation.Frank Auerbach, Galerie Michael Werner, Berlin, 3 May-28 JuneDan Hicks, Every Monument Must Fall, is published by Hutchinson Heinemann. It is out now in the UK and priced £25. It will be published in the US in August and priced $47.99Fragments, an exhibition of Ian Hamilton Finlay's work, is showing at Victoria Miro, London, until 24 May. Further exhibitions are at the Ingleby Gallery in Edinburgh, Kvenig Gallery in Palma de Mallorca, Galleria Massimo Minini in Brescia, David Nolan Gallery in New York, the Svea Semmler Gallery in Hamburg, the Stamper Gallery in Basel and the Galleria Hubert Winter in ViennaThe book Fragments is published by ACC Art Books and edited by Pia Maria Simig. It is published on 8 May and priced £50 Hosted on Acast. See acast.com/privacy for more information.

In this first episode of the new series of A brush with…, Ben Luke talks to the painter Celia Paul about her influences—including writers as well as contemporary and historic artists—and the cultural experiences that have shaped her life and work. Paul was born in 1959 in Trivandrum, India, and now lives in London. She makes intense yet ruminative paintings of people close to her, the spaces in which she lives and works, and landscapes of poignant significance. Her paintings are made from life but are pregnant with memory, poetry and emotion, which she imbues in her distinctive painterly language. Her art possesses a rare tranquillity in which one perceives deep feeling; Paul wrote in her memoir that her paintings are “so private and personal that there's almost a ‘Keep Out' sign in front of them”. At once a singular figure yet also connected to strands of recent and historic figurative painting in Britain, she has been admired widely throughout her career but only recently been recognised as a major figure in British art of the past 40 years. She discusses the fact that she began painting before she knew about art, but when she was introduced to Old and Modern Masters, she discovered El Greco and Paul Cezanne, who remain important to her today. She also reflects on the compassion in Rembrandt and Vincent van Gogh, the stillness and scale of Agnes Martin and the elementary power of the novels of the Brontë sisters. She also describes her response in painting to the artists of the School of London, including Lucian Freud, with whom she was once in a relationship, and Frank Auerbach.Celia Paul: Colony of Ghosts, Victoria Miro, London, until 17 April 2025. Celia Paul: Works 1975–2025, published by MACK, £150 (hb) Hosted on Acast. See acast.com/privacy for more information.

A reflection on the complex experience of joy. Wondering how the neurology and psychology of joy alongside the artistic capturing of it helps us appreciate the theological perspective of Joy as a fruit of the Spirit. Drawing from recent developments scientific research and National Gallery curators' commentaries on Frank Auerbach's _Mornington Crescent_ and Van Gogh's _Sunflowers_.

Auerbach fue uno de los últimos representantes que quedaban de la conocida escuela de Londres. Conocido por sus impastos y sus retratos cargados de materia y pintura al óleo, se trata de una piedra angular para comprender la pintura figurativa del siglo XX.

Should people have the right to choose how they die? Though many Britons support the principle, a vote on assisted dying in the House of Commons may fail. Donald Trump reshaped the Supreme Court in his first term. His second act could be just as dramatic (09:30). And remembering figurative painter Frank Auerbach (18:10).  Listen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account.  Hosted on Acast. See acast.com/privacy for more information.

Should people have the right to choose how they die? Though many Britons support the principle, a vote on assisted dying in the House of Commons may fail. Donald Trump reshaped the Supreme Court in his first term. His second act could be just as dramatic (09:30). And remembering figurative painter Frank Auerbach (18:10).  Listen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. 

Maurizio Cattelan's Comedian (2019), the work featuring a banana stuck to a wall with grey duct tape, sold at Sotheby's in New York, on Wednesday for $5m or $6.2m with fees. But how did other works fare at this week's auctions in New York? Ben Luke talks to Ben Sutton, The Art Newspaper's editor, Americas, about the sales. Frank Auerbach, the painter who escaped the Holocaust and dedicated more than 70 years to creating portraits and cityscapes in London in raw, thick paint and expressive charcoal, has died. We speak to the curator of three of his most important exhibitions—and a model for Auerbach for more than 40 years—Catherine Lampert, about his work. And this episode's Work of the Week is Mzwandile at home after coming from the rehab center (2018), a photograph from Nyaope, a series by the South African photographer Lindokuhle Sobekwa. In the series he explored the devastating effect on his local community of a heroin-based drug, called nyaope. The work is part of the exhibition Heroin Falls, at the Sainsbury Centre in Norwich, UK, and I spoke to Lindo about the work.Heroin Falls, Sainsbury Centre, Norwich, UK, 23 November-27 April 2025 Hosted on Acast. See acast.com/privacy for more information.

Matthew Bannister onLord Prescott, the working-class lad who became Deputy Prime Minister.Stephanie Collie, whose costume designs for “Peaky Blinders” and “Lock Stock and Two Smoking Barrels” inspired street fashion.Dame Janet “Jinty” Nelson, the leading mediaeval historian who wrote an acclaimed biography of the Frankish King Charlemagne.Frank Auerbach, one of the twentieth century's finest artists. We speak to the art historian Catherine Lampert who sat for him every week for over forty years. Producer: Ed Prendeville

Welcome back to Print Market News, your weekly roundup of everything happening in the print world - fast and focused!   This week on The World in Prints, we bring you the most compelling stories shaking the art world. Italian authorities uncover a Europe-wide forgery network, spotlighting counterfeit Banksy works in a €250 million scandal. Meanwhile, New York auction week sees Keith Haring and Roy Lichtenstein works take center stage, and the Woolwich Contemporary Print Fair showcases rising trends in printmaking. We also explore Hauser & Wirth's newly announced Basquiat exhibition, a landmark moment for the legendary artist's legacy. Plus, Harland Miller's latest print releases sell out in record time, and we pay tribute to Frank Auerbach's printmaking achievements.

"No Other land!": Nahostkonflikt im Film; Ein Künstler stets an der Arbeit: Nachruf auf Frank Auerbach; Tiemanns Wortgeflecht: "Ampel-Fiasko" und "Cancel-Kanzler"; Kürzungen bei Kultur: Demokratiefördernde Projekte gefährdet; Musiktipp: Neues Album von The Bongo Hop. Moderation: Jörg Biesler Von Jörg Biesler.

Le prix interallié 2024 a été attribué à Thibault de Montaigu Le peintre Frank Auerbach est décédé. Le musée de la Croix Rouge délocalisé à Dubaï ?

AP correspondent Charles de Ledesma reports painter Frank Auerbach, who fled the Nazis, has died.

Mit acht Jahren flieht Frank Auerbach vor den Nationalsozialisten aus Berlin nach London. Von dort aus erlangt er mit seinen Bildern internationalen Ruhm. David Bowie sagte, seine Musik solle wie Auerbachs Gemälde klingen. Nun starb er mit 93 Jahren. Günther, Katharina www.deutschlandfunkkultur.de, Fazit

The grandfather of British Pop Art, Sir Peter Blake is one of most influential and popular artists of his generation. A Royal Academician with work in the national collection, including Tate and the National Portrait Gallery, he is renowned for paintings and collages that borrow imagery from advertising, cinema and music. Having created The Beatles' Sgt Peppers Lonely Hearts Club Band sleeve in 1967 he became the go-to album designer for other musical artists including The Who, Paul Weller, Madness and Oasis. He was knighted for services to art in 2002.Sir Peter tells John Wilson how, after a working class upbringing in Dartford, Kent, he won a place at the Royal College of Art alongside fellow students Bridget Riley and Frank Auerbach. He recalls being influenced by early American pop artists including Jasper Johns and Robert Rauschenberg, and how he began making art inspired by everyday popular imagery. He chooses Dylan Thomas's 1954 radio play Under Milk Wood as a work which captivated his imagination and later inspired a series of his artworks based on the characters, and also cites Max Miller, the music hall artist known as 'the Cheeky Chappie'; as a creative influence. Sir Peter remembers how he made the iconic Sgt Pepper sleeve using waxwork dummies and life size cut-out figures depicting well-known people chosen by Peter and The Beatles themselves. Producer: Edwina PitmanArchive used: Under Milk Wood by Dylan Thomas, performed by Richard Burton, BBC Third Programme, 25 Jan 1954 Max Miller, introduced by Wilfred Pickles at the Festival of Variety, BBC Light Programme, 6 May 1951 Max Miller archive from Celebration, The Cheeky Chappie, BBC Radio 4, 3 July 1974 Monitor: 89: Pop Goes The Easel, BBC1, 25 March 1962 Peter Blake: Work in Progress, BBC2, 21 February 1983 Newsnight, BBC2, 7 February 1983 Ian Dury, Peter the Painter

Arthur returns to Berlin for a late May gallery road trip with Alise, before she takes on a new position as a gallery director in Portugal.Still piecing together the best exhibitions of Berlin Gallery Weekend, our art drivers head to Haverkampf Leistenschneider, to see Aubrey Levinthal's exhibition ‘Cloud Cover'. It's hard to overstate the poetry of this show. There is so much to take in – so many stories to unravel in each composition – that it really deserves to be seen in person, before closing on 15 June.From there, the drive and conversation meander towards KaDeWe, the Frank Auerbach exhibition ‘The Charcoal Heads' at The Courtauld, and a discussion of how exactly the show will continue with Alise no longer in Berlin (spoiler: Arthur will call her on the car phone, and there may be one or two new guest hosts in the passenger seat).

Painter Rodney Dickson comes from humble beginnings in a small town in Northern Ireland. Being an artist has led him many places around the world but has predominantly lived in NYC  since the 90's.  A student of Mike Knowles who himself is a student of Frank Auerbach (all three still correspond), Rodney is part of a lineage of thick impasto painters while still exploring new possibilities.See www.instagram.com/i_know_strange_people/ for images and comments.

This is a free preview of a paid episode. To hear more, visit www.thegallerycompanion.comShortlisted for the Independent Podcast Awards 2023. Subscribe to receive exclusive weekly content at www.thegallerycompanion.comIn this week's episode I am talking about lines -- the ones that you can see and the invisible ones that you can only feel. It's a subject that the geographer Maxim Samson discusses in his recently published book, Invisible Lines, which is an exploration of the hidden geographies that affect the way we exist in and move through our physical environments. These are lines that we experience and sense, consciously and subconsciously acting on them.I talk about these ideas in relation to the work of the New York-based artist Mika Rottenberg, whose film Cosmic Generator (2017) explores ideas about the movement and restriction of goods and people, and the visible and invisible divisions that are constructed to separate us.And I discuss the charcoal portraits of the British artist Frank Auerbach, whose practice of drawing the faces of his sitters and rubbing them out repeatedly in his quest to represent the truth suggests to me another kind of invisible boundary in space — that separation between two people that we can feel and sense but we can't see.If you'd like to access the full podcast you can subscribe to it on my Substack publication at thegallerycompanion.com. A subscription gets you a podcast and email from me every Sunday and access to a lovely community of artists and art lovers from around the world.The Gallery Companion is hosted by writer and historian Dr Victoria Powell. It's a thought-provoking dive into the interesting questions and messy stuff about our lives that art explores and represents.

Frank Auerbach was sent to Britain from Nazi Germany by his parents at the age of 8. Growing up in a Quaker boarding school in Kent, he developed his artistic talents - later to be inspired by the landscapes of war-torn London in the Blitz. Worrying about how he would afford paint for much of his career, an Auerbach piece now commands a price tag in the millions. He has developed a reputation as a recluse - rarely giving interviews, or even attending his own exhibitions. Now, his wartime art 'The Charcoal Heads' is on display in London. Who is the 92-year-old artist still working seven days a week? Stephen Smith gets beneath the paint layers to learn more about one of our greatest living artists. CONTRIBUTORS Dale Berning Sawa, Journalist and Commissioning Editor William Feaver, Art Critic, Author Catherine Lampert, Curator and Art Historian Barnaby Wright, Deputy Head, The Courtauld Gallery PRODUCTION TEAM Presenter: Stephen Smith Producers: Ellie House and Julie Ball Studio Manager: Neil Churchill Editor: Matt Willis Production Co-ordinators: Maria Ogundele and Sabine SchereckCREDITS: Omnibus, BBC TV, 2001. Jake Auerbach Films This Cultural Life, BBC R4, January 2024

As she stages a non-stop reading of Hannah Arendt's The Origins of Totalitarianism for five days at the Hamburger Bahnhof in Berlin, Tania Bruguera reflects on growing concerns about the censorship of artists in Germany in relation to the Israel-Hamas war. She also discusses the comments made by Ai Weiwei this week that censorship in the West was now “exactly the same” as in Mao's China. The Courtauld in London this week opened an exhibition of the monumental charcoal drawings made by Frank Auerbach in the 1950s and early 1960s, and we take a tour of the exhibition with the show's curator Barnaby Wright. And this episode's Work of the Week is Mihrdukht Aims Her Arrow at the Ring, a folio from the Hamzanāma (Story of Hamza). Made in India in around 1570, during the Mughal period, it is one of the works acquired by the British painter Howard Hodgkin in a lifetime of collecting Indian art. The collection is the subject of an exhibition at the Metropolitan Museum of Art in New York, which opened this week. Navina Najat Haidar, one of the co-curators of the show, tells us more.Tania Bruguera: Where Your Ideas Become Civic Actions (100 Hours Reading “The Origins of Totalitarianism”), Hamburger Bahnhof – Nationalgalerie der Gegenwart, Berlin, until 11pm on Sunday, 11 February. You can hear a discussion about Hannah Arendt's legacy and her influence on artists in our episode from 15 January 2021.Frank Auerbach: The Charcoal Heads, The Courtauld, London, until 27 May.Indian Skies: The Howard Hodgkin Collection of Indian Court Painting, Metropolitan Museum of Art, New York, until 9 June. And you can hear my interview with Antony Peattie, Hodgkin's partner for the last few decades of his life, about the artist's final paintings, on the episode from 25 May 2018.Offer: you can still buy The Art Newspaper's magazine The Year Ahead 2024, an authoritative guide to the world's must-see art exhibitions and museum openings—many of which were discussed on our podcast from 12 January. Get a print and digital subscription to The Art Newspaper at theartnewspaper.com before the 15th of this month to receive a copy of The Year Ahead with your next printed issue. Or you can buy the magazine on its own on the website for just £9.99 or $13.69. Hosted on Acast. See acast.com/privacy for more information.

A rare interview with Frank Auerbach, one of the world's greatest living painters. At 92 years old, he has been painting for over 70 years and still works every day. A child refugee from Nazi Germany whose parents were killed in Auschwitz, he made his name alongside his friends and fellow painters Francis Bacon, Lucian Freud and Leon Kossoff in the 1950s. He's well known for the thick layers of the paint used to create his portraits and images of the streets around the studio in Camden Town where he has worked since 1954.Frank Auerbach talks to John Wilson about his fragmentary memories of his early childhood in pre-war Berlin and his education at the boarding school Bunce Court in Kent, where he arrived aged 7. He recalls the huge impression that a black and white reproduction in a children's encyclopaedia of Turner's The Fighting Temeraire made on him as a boy, making him want to "do better and be less superficial". Auerbach also discusses the influence on him of the artist David Bomberg who taught him at London's Borough Polytechnic, and his friend and fellow student Leon Kossoff. He also talks about his friendships with Francis Bacon and Lucian Freud and why he still paints and draws in his studio seven days a week.Producer: Edwina Pitman

In episode 277 UNP founder and curator Grant Scott is in his shed reflecting on understanding and promoting contemporary landscape photography, when clients are made redundant, and what a photographer leaves behind. Plus this week, photographer Nicholas Sinclair takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Nicholas Sinclair was born in London in 1954 and studied Fine Art and Art History at the University of Newcastle-upon-Tyne between 1973 to 1976. His career as a photographer began in 1982 while playing the drums in a Moroccan circus when he began taking photographs of the circus acts between performances, photographs that were first published by The British Journal of Photography in 1983 and exhibited at The University of Sussex in the same year. After the season ended, he visited other circuses with the aim of extending the series. This work was subsequently shown at The National Theatre in London in 1985 and at The Photography Centre of Athens in 1986. In 1987 he began photographing British artists in their studios a series of portraits that spans thirty years and includes Anthony Caro, Gillian Wearing, Frank Auerbach, Gilbert & George, Paula Rego and Richard Hamilton. Work from this series is now in the permanent collections of European museums and galleries including The National Portrait Gallery and the Victoria & Albert Museum in London, amongst other institutions. Forty-seven of these portraits are in the collection of Pallant House Gallery in Chichester where they were exhibited in 2014. In 1995 he was commissioned by Brighton Museum & Art Gallery to make a series of photographs of contemporary fetishism for inclusion in the exhibition Fetishism: Visualising Power and Desire. In 2002 Sinclair published his first book of landscape photographs entitled Crossing the Water, a series made on the perimeter of a lake over a twelve-month period. In 2003 he was made a Hasselblad Master and in 2009 Sinclair moved to Berlin and established a studio there in 2011. In 2019 a German production company made a thirty-minute documentary about his work and he was appointed Visiting Professor at Richmond, The American International University in London. In 2021 Sinclair published Polaroids, a book of studio portraits to mark ten years of working in the studio and a short film entitled Rhythm of the Blood. He is currently working on a new series of photographs titled Neon Trees Miscellany made in East Berlin. www.nicholassinclair.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. Scott's next book Condé Nast Have Left The Building: Six Decades of Vogue House will be published by Orphans Publishing in the Spring of 2024. © Grant Scott 2023

Maro Gorky, daughter of Abstract Expressionist Ashile Gorky, talks about how she was taught to paint as a child, the anger and guilt she felt over her father’s death, the influence of her tutors Jeffrey Camp and Frank Auerbach at the Slade, her move to Tuscany where she has lived a simple life for more... Continue Reading →

We're talking about the burgeoning opportunities for new and established collectors of beautiful rare objects, looking forward to London Craft Week, with Guy Salter, the fair's founder.   Now in its ninth year and dubbed ‘the most luxurious craft fair in the world', the fair spreads right across the capital, incorporating Acton and Park Royal as Creative Enterprise Zones for the first time. There will be exciting events and exhibitions celebrating the Coronation and London Craft Week will also showcase the work of over 700 artists, designers and makers from across the world and include four international pavilions from Austria, Malaysia, South Korea and Taiwan.   We also talk to Nazy Vassegh, founder of the boutique art platform Eye of the Collector.  The third edition of The Eye of the Collector fair is running between 17th and 20th May at Two Temple Place, the majestic 1892 Neo-Gothic building, commissioned by William Waldorf Astor, on London's Strand.  Of the 120 works for sale, many will be of museum quality or by huge names including Frank Auerbach, Barbara Hepworth and Bridget Riley but will there will also be 60 new works, aiming to shine a light on emerging artists and designers and overlooked talent.  Our third guest is celebrated couturier and interior designer Tomasz Starzewski, who's now collaborating with the specialist ceramics and craft auctioneers Maak to curate an installation of exquisite pieces from the collection of the late Victoria Lady de Rothschild. The installation is now open in Buckinghamshire, at Ascott House, the home Lady de Rothschild shared for over a decade with her husband Sir Evelyn.  Victoria Lady de Rothschild designed Ascott House, alongside Renzo Mongiardino and it's now the beautiful setting for 118 carefully chosen and placed objects that she collected on her travels for over 20 years.  They will be displayed throughout the house until September when Maak will auction them. London Craft Week:  throughout the capital from Monday 8th to Sunday 14th May The Eye of the Collector: at 2 Temple Place from Wednesday 17th to Saturday 20th May Highlights from Victoria Lady de Rothschild's Collection: at Ascott House until September

I'm thrilled to have sat down with mega dealer and collector Ivor Braka.Having studied at Oxford then at Sotheby's, at aged 24 , Ivor got his first taste of the art world when he worked for Andras Kalman at Crane Kalman gallery in Knightsbridge.With funding from his father and installed in a flat in Pont St, he then plunged into Wyndham Lewis drawings, Rossetti, JW Waterhouse, Mondrian and Ben Nicholson.Having got into Lucian Freud, Francis Bacon and Frank Auerbach way before others did, it was in 1989 when he was introduced to a Swedish collector Bo Alveryd that Ivor's big break came. A Francis Bacon self portrait he had bought for $2m was subsequently sold for $4.2m. Ivor was set.Dealing also in Paula Rego, Pablo Picasso, and Tracey Emin, by 2001, when Francis Bacon prices began their mountainous climb, from $5 million to $86 million, Ivor had been in the Bacon market for decades. Often called a visionary, Ivor attributes some of his success to going against convention and not necessarily following the market, discovering great pictures and subsequently achieving multiple record prices along the way.Splitting his time between London and Norfolk, Ivor operates independently, without an army of directors, assistants and white walls, offering a highly-private dealership serving the world's biggest collectors.Recorded from Ivor's home in Chelsea, my name is Nolan Browne, I'm an art advisor with a podcast this is A Life Curated Hosted on Acast. See acast.com/privacy for more information.

W G Sebald inflytande över den moderna litteraturen är svåröverblickbart, men vari bestod hans storhet? Eva Ström reflekterar över detta och över poängen med Sebalds kontroversiella metod. Ursprungligen publicerad 2022-04-20.Kort före sin död i en bilolycka år 2001 höll den tyske författaren WG Sebald en workshop i skrivande på sitt universitet i East Anglia. Hans studenter samlade sedan sina anteckningar från samtalen till ett antal maximer av det han försökte lära ut. Bland annat sa Sebald: Inget av det som du kan hitta på kan vara så hårresande som det som folk berättar för dig,Jag kan bara uppmuntra er att stjäla så mycket som möjligt, Ingen kommer någonsin märka det.Var inte trädd för att infoga underliga vältaliga citat och ympa in dem i din berättelse. Det berikar texten.Sebald fick ett internationellt genombrott på 90-talet. Susan Sontag hyllade hans säregna prosa, som dock inte var så lätt att karaktärisera. Verk som Svindel. Känslor, Utvandrade, Saturnus ringar och Austerlitz är till synes dokumentära essäer men har fiktiva drag, och de är illustrerade med suddiga fotografier, som i stället för att klargöra oftast ökar mystiken. Författaren tedde sig ändå som en sanningssägare som ville blotta det samhället förtigit, i synnerhet Förintelsen. Men hur mycket kan man lita på hans dokumentära berättande Sebald sa själv: Essän har invaderat romanen. Men vi ska kanske inte lita på de fakta som förekommer.Ingen kommer märka att du stjäl, sa alltså Sebald till sina elever. Men det stämde inte.Den österrikiska judiska flickan Susi Bechhöfer kom tillsammans med sin tvillingsyster vid 3 års ålder i en Kindertransport till Storbritannien och hamnade hos en prästfamilj i Wales, där hon fick ett annat namn. I vuxen ålder uppdagades hennes riktiga namn och hon kunde nysta upp sin tragiska historia. Det gjordes en film om henne, och hon skrev en bok.  Detta tog Sebald del av och fogade in i  Jacques Austerlitz livsberättelse utan att det någonsin nämndes i verket.Susi Bechhöfer kände igen sin historia som en förlaga till Jacques Austerlitz och hon skrev till författaren som medgav att hon hade rätt.Detta kan man läsa om i "Speak, Silence", den biografi över Sebald där Carole Angier återskapar författarens liv från födelsen i Wertach i  Bayern,  till tiden i England som universitetslärare i East Anglia fram till dödsolyckan. Sebalds änka har inte velat medverka, men på intet sätt hindrat framväxten av boken, där syskon, vänner och arbetskamrater intervjuats. Framför allt ger Angier en fascinerande bild av Sebalds arbetsmetoder. Han lyckades skapa en halvdokumentär form, där fakta och fiktion ibland byter plats, vilket får materialet att sväva på ett drömlikt sätt och ge läsaren en svindel om man så vill. Ju mer dokumentärt Sebald skrev desto större blir svindeln. Är världen verkligen så underlig och grym? Och ändå så vacker? Susi Bechhöfer var trots allt ganska överseende mot Sebald. Mindre trakterad var konstnären Frank Auerbach, när han läste avsnittet Aurach i boken Utvandrade. Här återsåg han bild av ett av sina egna verk, liksom ett foto av sitt öga. Auerbachs konstnärliga metod bestod i att lägga på färg och sedan skrapa av den, och sedan börja på nytt, i en slitsam arbetsprocess.  Detta var en metod som Sebald i detalj beskrev i sitt verk allt hämtat från en biografi om Auerbach. Konstnären vände sig rasande till förlaget, som genast tog bort bilderna och namnet Aurach ändrades till Ferber.Sebald rättfärdigade säkert sitt projekt med att hans egen prosa var en nyskapelse, där han kunde ympa in skott från andras skrivande, biografier, berättelser och också förändra det.  I hembyn rasade man mot Sebald och hans mor, som kanske omedvetet försett honom med material. Andra var stolta över att ha bidragit till detta samtida mästerverk, som Peter Jordan, som var den andra förlagan till Aurach. Delar av Jordans mosters dagböcker hade i beskuret skick hamnat i romanen, ibland något omgjorda.Sebalds tillvägagångsätt har inspirerat många författare som Jenny Erpenbeck, Teju Cole, och Rachel Cusk . Vad än han lärde ut till dessa och sina elever fanns det något som de inte kunde tillägna sig, hans mästerliga stil och den aura som hans verk utstrålar. Hans minutiösa prosa med långa, ringlande beskrivande meningar är egendomligt suggestiv.Med sin hybridmetod ville han ge sin blick på världen, en blick som såg fasa och förstörelse, men inte som något kaotiskt utbrott utan snarare som ett pedantiskt organiserat arbete. Så tedde sig ju inte minst Förintelsen.  Sebalds far hade tjänstgjort i naziarmén, och hela Sebalds verk kan ses som ett gigantiskt bearbetande av detta trauma och av den småborgerliga, prudentligt lydiga uppväxt som dolt allt detta och som han ville bryta sig loss ifrån.Den autofiktiva prosan har efter Sebald exploderat, och invaderat litteraturen.  Den genre som blev hans är nu inte bara  hans egen. Det etiskt kontroversiella att ympa in en biografi med främmande element är ymnigt förekommande och kallas inte sällan appropriering. Men även om närmast alla författare stjäl och låter minnen, berättelser, läsefrukter och andras personliga historier ingå i sitt stoff tänk till exempel Selma Lagerlöf så är det ingen som så tydligt låter skarvarna bli synliga, som Sebald.Sebald verkade före internet det är lättare nu att spåra citat, människor, böcker och biografier. Några av de människor vars livshistoria han stal utan att fråga kände sig smickrade andra blev uppriktigt förbannade som Auerbach, och andra som Susi Bechhöfer tyckte att hennes identitet blivit stulen ännu en gång. Något erkännande av Sebalds tacksamhetsskuld kom aldrig till stånd.Men varför kunde då inte Sebald helt enkelt kunnat ge Susi Bechhöfer kredd och nämna att han inspirerats av hennes bok, alternativt Peter Jordans moster, vars dagbok han saxade ur? Eller tala om vilka böcker till exempel om arkitektur han inspirerats av, alternativt klippt stora sjok ur och kanske förändrat här och där.Jag tror svaret är att han då skulle underminerat hela sin konst, sitt verk. Poängen är att man aldrig riktigt som läsare vet om något är sant eller inte. Det är som om han vill säga att allt ändå är en illusion, men texten lyfter och svävar just därför, i den illusionen. Han ville inte skriva gängse essäer, där noter verifierar texten. Han visste förmodligen att detta hans tillvägagångssätt betraktades som oetiskt, men utan denna metod skulle hans verk aldrig ha kommit till. Och Angiers biografi stärker intrycket att hans skrivande var ett sätt för honom att överleva. Det är oerhört tragiskt och hans liv och predikament var på många sätt tragiskt. Det fanns ingen lösning på dilemmat. Och det var genom de här förvanskningarna av fakta som han skapade denna sin sanning om tillvaron. Hans konst är på samma gång ohygglig, vacker och utsökt, och just i denna paradox lever den.Eva Ström, författareLitteraturCarole Angier: Speak, silence in search of W G Sebald. Bloomsbury circus, 2021.W G Sebald: Dikt, prosa, essä. Översättning Ulrika Wallenström. Albert Bonniers förlag, 2011.

Fresh off Sotheby's strongest Frieze-week sales ever, James Sevier discusses the state of the Contemporary art market. London was filled with eager buyers who packed the fairs and auctions. More than $257 million was spent at auction and there's no telling how much more changed hands at the various fairs and galleries in London. In this conversation, Sevier talks about the mood in the market, the effect of the cheaper pound on how consignors behave and the strong demand for artists like David Hockney, Frank Auerbach and Caroline Walker.

As a host of new exhibitions of the work of Lucian Freud opens across London to mark his centenary, this episode is all about this leading figure in post-war British painting. Ben Luke takes a tour of the major show at the National Gallery, which promises new perspectives on his work, with its curator, Daniel Herrmann. Martin Gayford discusses Freud's little-explored letters, gathered in Love Lucian, a new book that Gayford has co-edited with Freud's former assistant David Dawson. And this episode's Work of the Week is the painting Mare Eating Hay (2006). The gallerist Pilar Ordovas, who worked closely with Freud in his later years, discusses the centrepiece of her new exhibition, Horses and Freud.Lucian Freud: New Perspectives, National Gallery, London, 1 October– 2 January 2023David Dawson and Martin Gayford (eds), Love Lucian: The Letters of Lucian Freud 1939-1954, Thames & Hudson, 392 pp, £65/$95 (hb)Freud and Horses, Ordovas, until 16 December.Other Freud exhibitions in London this autumn:Lucian Freud: The Painter and His Family, Freud Museum, until 29 January 2023; Lucian Freud: B.A.T, Lyndsey Ingram, until 4 November; Lucian Freud: Interior Life, with photographs by David Dawson, Hazlitt Holland-Hibbert, 6 October-16 December; Lucian Freud: Plant Portraits, Garden Museum, 14 October-5 March 2023; Friends and Relations: Lucian Freud, Francis Bacon, Frank Auerbach, Michael Andrews, Gagosian Gallery, 18 November-28 January 2023 Hosted on Acast. See acast.com/privacy for more information.

Need somewhere to visit this weekend? Have you seen the work of one of Britain's  greatest living artists, Frank Auerbach? Maya Binkin, the artistic Director of the Newlands House Gallery in Petworth talks to Noni Needs about Frank Auerbach: Unseen exhibition. Auerbach's practice, the hi-lights and the inspirational work you will see on your visit.The exhibition runs to August 14th. https://newlandshouse.gallery/ There is also great excitement at the news of the next exhibition: Pablo Picasso and Lee Miller.  Their 40 year friendship, and her extraordinary life as a Vogue model turned war correspondent, a pioneer in Surrealist art, fashion and photojournalism.See omnystudio.com/listener for privacy information.

W G Sebald inflytande över den moderna litteraturen är svåröverblickbart, men vari bestod hans storhet? Eva Ström reflekterar över detta och över poängen med Sebalds kontroversiella metod. Kort före sin död i en bilolycka år 2001 höll den tyske författaren WG Sebald en workshop i skrivande på sitt universitet i East Anglia. Hans studenter samlade sedan sina anteckningar från samtalen till ett antal maximer av det han försökte lära ut. Bland annat sa Sebald: Inget av det som du kan hitta på kan vara så hårresande som det som folk berättar för dig,Jag kan bara uppmuntra er att stjäla så mycket som möjligt, Ingen kommer någonsin märka det.Var inte trädd för att infoga underliga vältaliga citat och ympa in dem i din berättelse. Det berikar texten.Sebald fick ett internationellt genombrott på 90-talet. Susan Sontag hyllade hans säregna prosa, som dock inte var så lätt att karaktärisera. Verk som Svindel. Känslor, Utvandrade, Saturnus ringar och Austerlitz är till synes dokumentära essäer men har fiktiva drag, och de är illustrerade med suddiga fotografier, som i stället för att klargöra oftast ökar mystiken. Författaren tedde sig ändå som en sanningssägare som ville blotta det samhället förtigit, i synnerhet Förintelsen. Men hur mycket kan man lita på hans dokumentära berättande Sebald sa själv: Essän har invaderat romanen. Men vi ska kanske inte lita på de fakta som förekommer.Ingen kommer märka att du stjäl, sa alltså Sebald till sina elever. Men det stämde inte.Den österrikiska judiska flickan Susi Bechhöfer kom tillsammans med sin tvillingsyster vid 3 års ålder i en Kindertransport till Storbritannien och hamnade hos en prästfamilj i Wales, där hon fick ett annat namn. I vuxen ålder uppdagades hennes riktiga namn och hon kunde nysta upp sin tragiska historia. Det gjordes en film om henne, och hon skrev en bok.  Detta tog Sebald del av och fogade in i  Jacques Austerlitz livsberättelse utan att det någonsin nämndes i verket.Susi Bechhöfer kände igen sin historia som en förlaga till Jacques Austerlitz och hon skrev till författaren som medgav att hon hade rätt.Detta kan man läsa om i "Speak, Silence", den biografi över Sebald där Carole Angier återskapar författarens liv från födelsen i Wertach i  Bayern,  till tiden i England som universitetslärare i East Anglia fram till dödsolyckan. Sebalds änka har inte velat medverka, men på intet sätt hindrat framväxten av boken, där syskon, vänner och arbetskamrater intervjuats. Framför allt ger Angier en fascinerande bild av Sebalds arbetsmetoder. Han lyckades skapa en halvdokumentär form, där fakta och fiktion ibland byter plats, vilket får materialet att sväva på ett drömlikt sätt och ge läsaren en svindel om man så vill. Ju mer dokumentärt Sebald skrev desto större blir svindeln. Är världen verkligen så underlig och grym? Och ändå så vacker? Susi Bechhöfer var trots allt ganska överseende mot Sebald. Mindre trakterad var konstnären Frank Auerbach, när han läste avsnittet Aurach i boken Utvandrade. Här återsåg han bild av ett av sina egna verk, liksom ett foto av sitt öga. Auerbachs konstnärliga metod bestod i att lägga på färg och sedan skrapa av den, och sedan börja på nytt, i en slitsam arbetsprocess.  Detta var en metod som Sebald i detalj beskrev i sitt verk allt hämtat från en biografi om Auerbach. Konstnären vände sig rasande till förlaget, som genast tog bort bilderna och namnet Aurach ändrades till Ferber.Sebald rättfärdigade säkert sitt projekt med att hans egen prosa var en nyskapelse, där han kunde ympa in skott från andras skrivande, biografier, berättelser och också förändra det.  I hembyn rasade man mot Sebald och hans mor, som kanske omedvetet försett honom med material. Andra var stolta över att ha bidragit till detta samtida mästerverk, som Peter Jordan, som var den andra förlagan till Aurach. Delar av Jordans mosters dagböcker hade i beskuret skick hamnat i romanen, ibland något omgjorda.Sebalds tillvägagångsätt har inspirerat många författare som Jenny Erpenbeck, Teju Cole, och Rachel Cusk . Vad än han lärde ut till dessa och sina elever fanns det något som de inte kunde tillägna sig, hans mästerliga stil och den aura som hans verk utstrålar. Hans minutiösa prosa med långa, ringlande beskrivande meningar är egendomligt suggestiv.Med sin hybridmetod ville han ge sin blick på världen, en blick som såg fasa och förstörelse, men inte som något kaotiskt utbrott utan snarare som ett pedantiskt organiserat arbete. Så tedde sig ju inte minst Förintelsen.  Sebalds far hade tjänstgjort i naziarmén, och hela Sebalds verk kan ses som ett gigantiskt bearbetande av detta trauma och av den småborgerliga, prudentligt lydiga uppväxt som dolt allt detta och som han ville bryta sig loss ifrån.Den autofiktiva prosan har efter Sebald exploderat, och invaderat litteraturen.  Den genre som blev hans är nu inte bara  hans egen. Det etiskt kontroversiella att ympa in en biografi med främmande element är ymnigt förekommande och kallas inte sällan appropriering. Men även om närmast alla författare stjäl och låter minnen, berättelser, läsefrukter och andras personliga historier ingå i sitt stoff tänk till exempel Selma Lagerlöf så är det ingen som så tydligt låter skarvarna bli synliga, som Sebald.Sebald verkade före internet det är lättare nu att spåra citat, människor, böcker och biografier. Några av de människor vars livshistoria han stal utan att fråga kände sig smickrade andra blev uppriktigt förbannade som Auerbach, och andra som Susi Bechhöfer tyckte att hennes identitet blivit stulen ännu en gång. Något erkännande av Sebalds tacksamhetsskuld kom aldrig till stånd.Men varför kunde då inte Sebald helt enkelt kunnat ge Susi Bechhöfer kredd och nämna att han inspirerats av hennes bok, alternativt Peter Jordans moster, vars dagbok han saxade ur? Eller tala om vilka böcker till exempel om arkitektur han inspirerats av, alternativt klippt stora sjok ur och kanske förändrat här och där.Jag tror svaret är att han då skulle underminerat hela sin konst, sitt verk. Poängen är att man aldrig riktigt som läsare vet om något är sant eller inte. Det är som om han vill säga att allt ändå är en illusion, men texten lyfter och svävar just därför, i den illusionen. Han ville inte skriva gängse essäer, där noter verifierar texten. Han visste förmodligen att detta hans tillvägagångssätt betraktades som oetiskt, men utan denna metod skulle hans verk aldrig ha kommit till. Och Angiers biografi stärker intrycket att hans skrivande var ett sätt för honom att överleva. Det är oerhört tragiskt och hans liv och predikament var på många sätt tragiskt. Det fanns ingen lösning på dilemmat. Och det var genom de här förvanskningarna av fakta som han skapade denna sin sanning om tillvaron. Hans konst är på samma gång ohygglig, vacker och utsökt, och just i denna paradox lever den.Eva Ström, författareLitteraturCarole Angier: Speak, silence in search of W G Sebald. Bloomsbury circus, 2021.W G Sebald: Dikt, prosa, essä. Översättning Ulrika Wallenström. Albert Bonniers förlag, 2011.

Where have the past few months gone? After an un-intentional hiatus, we are back with some exhibition recommendations, new artist finds and juicy art world stories. We discuss long lost artworks that have just turned up in Germany and Italy, cue speculation a plenty. Liz provides an update on her NFT experimentation, whilst we also discuss the big elephant in the Crypto Art room - climate change. And hindsight is a bitch if you're Banksy, after he loses an E.U. copyright court case thanks, in part, to his own statement that ‘Copyright is for Losers'. Our Artist Focus for this episode is German-British painter Frank Auerbach. Born in Berlin, his parents sent him to Britain in 1939 under the Kindertransport scheme. We discuss the importance of his influences in his life, including his teacher David Bomberg, and friends that include Leon Kossof, Francis Bacon and Lucien Freud. His friendship in particular with Kossof has been the subject of multiple articles and exhibitions in itself. SHOW NOTES: Hilary Pecis ‘Piecemeal Rhythm' at Timothy Taylor Gallery until 26 June 2021: https://www.timothytaylor.com/exhibitions/hilary-pecis-piecemeal-rhythm/ Adrian Berg ‘Paintings 1964-2010' at Frestonian Gallery until 3 July 2021: https://www.frestoniangallery.com/exhibitions/ Michael Armitage ‘Paradise Edict' at the Royal Academy until 19 September 2021:https://www.royalacademy.org.uk/exhibition/michael-armitage ‘The Making of Rodin' at the Tate Modern until 21 November 2021:https://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-rodin Igshaan Adams ‘Kicking Dust' at The Hayward Gallery until 25 July 2021: https://www.southbankcentre.co.uk/whats-on/art-exhibitions/igshaan-adams-kicking-dust?eventId=868262 Conor Murgatroyd: https://www.conormurgatroyd.com/ Sasha Gordon: http://www.sasha-gordon.com/ Corbin Shaw: https://gutsgallery.co.uk/artists/35-corbin-shaw/ Sanya Kantarovsky: https://www.luhringaugustine.com/artists/sanya-kantarovsky#tab:thumbnails Donna Huanca: https://www.simonleegallery.com/artists/192-donna-huanca/ Lucas Arruda: https://www.davidzwirner.com/exhibitions/2017/lucas-arruda Lost for 70 Years, Kandinsky Watercolor to Sell in Germany: https://www.artnews.com/art-news/market/rediscovered-wassily-kandinsky-watercolor-auction-ketterer-kunst-1234593056/ Six Ancient Frescoes Stolen From Roman Villas Over the Decades Have Been Returned to Pompeii: https://news.artnet.com/art-world/six-ancient-frescos-returned-pompeii-1970702 NFTs Are Hot. So Is Their Effect on the Earth's Climate: https://www.wired.com/story/nfts-hot-effect-earth-climate/ The E.U. Rules Against Banksy in His Trademark Fight With a Greeting Card Company, Citing His Own Statement That ‘Copyright Is For Losers': https://news.artnet.com/art-world/banksy-trademark-full-colour-black-1971339 Brothers in paint: Frank Auerbach and Leon Kossoff: https://www.christies.com/features/Leon-Kossoff-and-Frank-Auerbach-a-brilliant-friendship-11509-1.aspx National Gallery Stories ‘Frank Auerbach': https://www.nationalgallery.org.uk/stories/frank-auerbach

What is a head? That’s the question we’re asking this week’s guest, art historian, writer and curator Michael Peppiatt, who has put together an exhibition at Ben Brown Fine Arts that explores exactly that, through the art of Tony Bevan and Frank Auerbach. Peppiatt chats to Robert Bound about what the head symbolises, the difference between a head and a face, and why it is the greatest challenge to artists.

This week, we focus on two books: Aimee Dawson talks to Alice Procter about the debate over contested heritage in the UK and her book The Whole Picture, a strident call for colonial histories to be told in museums. Jori Finkel speaks to Glenn Adamson about Craft: An American History, a radical reappraisal of craft's role in forging American identity. And in this episode’s Work of the Week, Ben Luke talks to the critic Michael Peppiatt—curator of an exhibition uniting Frank Auerbach and Tony Bevan at Ben Brown Fine Arts in London—about Auerbach's EOW Sleeping IV (1967), in the Israel Museum in Jerusalem. See acast.com/privacy for privacy and opt-out information.

A rare opportunity to join British painter and author, Darren Coffield, as he takes you on a hair-raising romp through the underbelly of London's post-war art scene. Coffield's critically-acclaimed book, Tales from the Colony Room: Soho's Lost Bohemia, draws on the oral history of bohemian London who gathered at the Colony Room Club; home to the greatest post-war figurative painters of the 20th century, including Francis Bacon, Lucian Freud, Frank Auerbach, and the Young British Artists (YBAs), among many others. Artists Michael Clark, Darren Coffield, and Michael Woods join forces to recount hilarious and shocking tales of the infamous club and its artistic community, as well as its significant legacy in London's cultural landscape today. Coffield's book has inspired a new chapter through the exhibition 'Tales from the Colony Rooms: Art and Bohemia', on view at Dellasposa Gallery until 20 December 2020. For more information visit www.dellasposa.com

Talk Art exclusive!!! We meet a living LEGEND!! For episode 8, Russell and Robert meet the iconic British fashion designer Sir Paul Smith CH CBE RDI (born 5 July 1946). We discuss a lifetime of collecting art, his recent award of Companion of Honour from the Queen, setting up a new foundation with the aim of giving advice to creative people, his support of artists at the Royal Academy Schools and Slade including Lynette Yiadom-Boakye and James Lloyd and the lasting impact artists like David Hockney, Patti Smith, R. B. Kitaj, Peter Blake, Frank Auerbach and David Bowie had on his life. We learn about the exhibitions he put on in his first shop in the 1960s including works by Andy Warhol and how this has continued to the present day with exhibitions in his London and Los Angeles stores by Joy Yamusangie and John Booth amongst many others!This special episode was recorded in Paul Smith's office in London. Visit Paul Smith's Foundation online at www.PaulSmithsFoundation.com or Instagram @PaulSmithsFoundation. Paul's eponymous new 50th Anniversary Book is available now (published by Phaidon). This inspiring new book captures his unique spirit and one-of-a-kind creativity by selecting 50 highly personal objects, charting his and his brand’s half century of struggle and success, from a small menswear concern in Nottingham, UK, through to a globally recognised international fashion house.Follow Paul on Instagram @PaulSmith and @PaulSmithDesign, visit Paul's official website www.PaulSmith.comFor images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. Thank you for listening to Talk Art, we will be back very soon. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

The painting EOW on Her Blue Eiderdown II presents us with seductive obscurity. Frank Auerbach was a true romantic and it shows here. This painting may seem blunt at first. But the piece demands a deeper look. It's a loving and thoughtful portrait. EOW was the painter's intimate partner. Prolific with portraits, Auerbach painted few women. Estella Olive West, though, he painted countless times. Click to LadyKflo's site here for more about this and other masterpieces. https://www.ladykflo.com/eow-on-her-blue-eiderdown-ii-by-frank-auerbach/

Russell & Robert meet artist David Dawson for a private, after-hours tour of 'Lucian Freud: The Self-portraits', the breathtaking new exhibition he has curated at the Royal Academy of Arts, London. We discuss being assistant/head of studio for the last 20 years of Freud's life, Leigh Bowery, going to Taboo nightclub, Freud's early drawings and paintings inspired by surrealism, his grandfather Sigmund Freud and how Freud got all his information for his paintings from looking. We explore Freud's friendships with Francis Bacon and Frank Auerbach, what it's like to be a nude model for Freud's paintings - Dawson was subject in 7 paintings and 1 etching - and discover how Freud protected his own privacy and his unparalleled discipline of painting 7 days a week, every day of the year! We learn about David's own painting of urban landscapes and also his photography including timeless portraits of Freud. Follow David on Instagram @davidelidawson and see images of all artworks discussed in this episode @talkart. Special thanks to Alexandra Bradley at the RA @royalacademyarts.We strongly recommend visiting this exhibition. 'Lucian Freud: The Self-portraits' runs until 26 January 2020 and is in the RA's smaller, Sackler Wing of galleries and they expect demand to be high. To ensure the best possible experience, all visitors (including Friends of RA) must book a timed ticket to see this show.In a world first, more than 50 paintings, prints and drawings are brought together by this modern master of British art. One of the most celebrated portraitists of our time, Lucian Freud is also one of very few 20th century artists who portrayed themselves with such consistency. Spanning nearly seven decades, his self-portraits give a fascinating insight into both his psyche and his development as a painter – from his earliest portrait, painted in 1939, to his final one executed 64 years later. They trace the fascinating evolution from the linear graphic works of his early career to the fleshier, painterly style he became synonymous with. See acast.com/privacy for privacy and opt-out information.

Painting in London in the post-WWII years is a story of friendships and shared experiences. Drawing on first-hand interviews, acclaimed art historian Martin Gayford, in conversation with Hannah Rothschild, examined the interwoven lives of artists such as Francis Bacon, Lucian Freud, Frank Auerbach and David Hockney, and the teachers and contemporaries, including David Bomberg and Jackson Pollock, who influenced them in their quest to explore the boundaries of art, always posing the question, ‘what can painting do?’. In Association with STATE-F22 This event took place on 5 March as part of Jewish Book Week 2019

Leonard Shapiro is an Observational Teacher in Human Anatomy at the Department of Human Biology, University of Cape Town, South Africa.   Leonard joins me from sunny South Africa for the first of two podcasts that discuss the role of Art in Anatomy. In a wide-ranging conversation that touches on Leonard’s general interest in human anatomy and his passion for Frank Auerbach’s portraits. We also discuss in detail the Haptico-Visual Observation and Drawing technique that utilizes a multi-sensory approach to drawing anatomical structures. For some examples of Leonard’s portraits and HVO&D drawings visit: anatomypodcast.co.uk   You can follow Leonard using the twitter handle: @Leonard_Shapiro For more information on Leonard’s work visit his website: Lateral Leap   Next week we continue our exploration of Art in Anatomy with Dr Jac Saorsa from The Broadway Drawing School in Cardiff, United Kingdom.   To continue the conversation use: #AnatPodcast Follow: @AnatEducPodcast Visit:anatomypodcast.co.ukfor more information   The Anatomy Education Podcast is supported by the American Association of Anatomists. For information about upcoming events, membership details and much more, visit www.anatomy.org.

Coinciding with the publication of Catherine Lampert’s ‘Frank Auerbach: Speaking and Painting’, Tim Marlow talks to the painter. In a conversation that spans the artist’s relentless work ethic, his thoughts on John Constable and his relationship with Lucian Freud, Auerbach offers a window into his studio and practice. Honest and uncompromising, he reveals himself as intensely self-critical, trying not to look back, forever running to keep up with what he calls painting’s “inner engine”.

Join Lindsay Pickett & Christopher Lane in an interesting conversation on the Tate Britain's Exhibition of paintings & drawings from the 1950s to the present day. Frank Auerbach is recognised as Britain's greatest living artist by many. Lindsay & Lane explore why on behalf of Passion Palette - 'Bringing Art Together'... www.passionpalette.com

The American government's war on drugs is a familiar subject for a film. How does the latest - Sicario - advance the genre? The Donmar Warehouse's production of a play about LGBTQ politics on an American campus - Teddy Ferrara - has been reworked from its US origination. How will it work in London? Jonathan Lee's novel High Dive reimagines the story of the 1984 Brighton Bombing where the IRA tried to kill the Tory cabinet. How well does it meld fact and fiction? Frank Auerbach is often hailed as Britian's finest living painter. We attend a retrospective exhibition at Tate Britain in London Black Roses was Simon Armitage's prose poem - originally written for the radio - about the murder of Sophie Lancaster, a young goth girl kicked to death by a frenzied group of young men. It's now been made into a TV production as part of National Poetry Week Tom Sutcliffe's guests are Charlotte Mullins, Ryan Gilbey and Emma Woolf. The producer is Oliver Jones.

Coinciding with the publication of Catherine Lampert's ‘Frank Auerbach: Speaking and Painting', Tim Marlow talks to the painter Frank Auerbach

Kirsty Lang talks to Hollywood star Jessie Eisenberg on acting versus writing. Novelist Margaret Atwood discusses her new collection of short stories and flamenco guitarist, Paco Pena talks about being inspired by Lorca. We take a look at the Frank Auerbach paintings collected by his friend Lucien Freud and actor Jon Hamm on life after Mad Men. Johnny Marr talks about his enduring love of the guitar. Playwright Richard Bean discusses his prolific and varied career and documentary maker Alex Gibney who has made a film about Nigerian musical superstar Fela Kuti.

Johnny Marr discusses his new album Playland and reflects on his relationship with the guitar from The Smiths to his solo work. As Tate Britain unveils Lucian Freud's collection of Frank Auerbach's work, curator Elena Crippa explains what the collection can tell us about the relationship between the two artists. And Oscar-winning documentary maker Alex Gibney, famous for his investigative films about Enron and Lance Armstrong, explains why his new film explores the life and music of Nigerian superstar Fela Kuti. Producer: Ellie Bury Presenter: John Wilson.

Mark Lawson talks to Sir David Jason about balancing privacy with autobiography; to the new artistic director of the National Theatre, Rufus Norris, on learning to speak up for UK drama; to songwriter Tori Amos and playwright Samuel Adamson about their new musical fairytale for the 21st century; and he follows a Frank Auerbach picture into a Luton primary school; while Kirsty Lang meets writer Penelope Lively; and John Wilson talks to Sir Paul McCartney about finding new things to do at 71.

With Mark Lawson. The film Prince Avalanche is a tale of two men (played by Paul Rudd and Emile Hirsch) who, as they spend a summer painting the traffic markings on a country highway, share a journey of self-discovery. Novelist M J Hyland reviews. Mark visits a Luton primary school, as the children get to see a Frank Auerbach painting, on loan for the day. The work came from the Ben Uri Gallery as part of the Masterpieces in Schools programme, a partnership between the Public Catalogue Foundation and BBC Learning. Mark joins the children as they prepare to see a masterpiece first-hand, many of them for the very first time, and hears their thoughts about Auerbach's Mornington Crescent, Summer Morning II. Michael Blakemore joined the National Theatre as an Associate Director in 1971 under the leadership of Sir Laurence Olivier. His memoir Stage Blood tells the story of his time at the theatre and reveals the reasons behind his dramatic exit in 1976 after speaking out against Peter Hall's leadership. He reflects on why now was the right time to tell his story. Producer Claire Bartleet.

Tom Hanks on his latest role as an American captain taken hostage at sea. Jennifer Saunders explains why she lied to Goldie Hawn. Sir John Eliot Gardiner on the 50 of conducting that informed his new book about Johann Sebastian Bach and John Wilson meets artist Frank Auerbach and musician Anoushka Shankar

With John Wilson.Sitar player Anoushka Shankar discusses her latest album, Traces Of You, which features vocals from her half-sister, the singer Norah Jones. The album was influenced by the death of her father, the legendary sitar player Ravi Shankar, and explores the cycle of life. Anoushka Shankar explains how the worldwide outcry following the death of a young woman who was gang raped in India, led her to reveal that she too was sexually abused as a young girl.Truckers is the new TV drama by Made In Dagenham writer, William Ivory. Set in Nottingham, each episode tells the story of one character: starting with Stephen Tompkinson as a driver dealing with the breakdown of his marriage. The series also stars Ashley Walters (Top Boy) and Sian Breckin (Tyrannosaur). Matt Thorne reviews.In a rare interview, artist Frank Auerbach talks in detail about his approach to his work, explaining that he goes to his studio every single day, without ever taking a day off, because he enjoys it so much. He also points out that, although he is seen as an abstract artist, he actually paints exactly what he sees in front of him...Producer Rebecca Nicholson.

Rana Mitter discusses two new shows of the painter, Frank Auerbach's work with the critic, Bill Feaver and explores the vexed terrain of surveillance with the philosopher, Zygmunt Bauman and the journalist, Nick Cohen. There's also a review of a DVD release of Die Nibelungen, one of Fritz Lang's great films and the playwright Christopher Hampton talks about his new play, Appomattox and shares his enthusiasm for a neglected masterpiece of European literature, Odon von Horvath's The Age of the Fish.