Catherine Lampert

The second part of the Lucian Freud catalogue raisonné, recording all of the artist’s oil paintings in four volumes, with detailed entries, new photography, and essays This publication is the first attempt to comprehensively catalogue the oil paintings of the artist Lucian Freud (1922–2011). Over 500 works are presented and fully catalogued by Catherine Lampert and Toby Treves, with separate entries on each work providing essential information, provenance, and history of exhibition and literature, followed by individual remarks. Lampert and Treves provide new analysis of the paintings, informed by their collaborative research and collective knowledge of Freud’s oeuvre. Almost every work is reproduced in colour, including many for the first time. The catalogue contains several essays by contributors, including the critic and Freud specialist Sebastian Smee, National Portrait Gallery research fellow Jacob Simon, and curator and art historian Colin Wiggins. A chronology of Freud’s life and work, comprehensive lists of solo and group exhibitions, and a bibliography provide a full overview of Freud’s career and critical responses to it, making the volumes indispensable for research.

This centennial catalogue celebrates the remarkable achievements of the Whitechapel Gallery between 1901-2001. Featuring essays by Jonathan Jones, Jeremy Millar, Guy Brett, Mark Francis, Catherine Lampert, Jon Newman, Juliet Styen, Marco Livingstone, Felicity Lunn, Paul Bonaventura, Rachel Lichtenstein and Alan Dein, Janeen Haythornthwaite and Brandon Taylor. Artists surveyed include Ian McKeever, Tim Head, Alfredo Jaar, Ian Breakwell, Susana Solano, Cathy de Monchaux, Tunga, Boyd Webb, Matthew Higgs and Paul Noble, Zarina Bhimji, Hamish Fulton and John Murphy

The Birmingham-born, Turner Prize-nominated artist Hurvin Anderson is best known for his brightly painted, densely detailed landscapes and interior scenes, which are drawn from his own photographs, sketches and personal recollections particularly those relating to his upbringing in the Afro-Caribbean community in the Midlands, as well as more recent trips to the Caribbean. Anderson s luscious paintings have hybridity at their heart. A tug-of-war plays out between abstraction and figuration, nature versus the manmade, beauty and menace, and his British and Jamaican heritage. Born in the United Kingdom as a member of the Jamaican diaspora, Anderson relates to the Caribbean as both insider and outsider, aware of the mythmaking that the idea of lost or future paradise generates. Anderson, the youngest of eight children, grew up listening to his family reminisce about their lives in the Caribbean before they moved to England in the 1960s, an emotional through-line to his work, suggesting the longing and loss that keeps certain geographies alive in us. This book, Anderson s first major monograph, has been carefully curated by the artists himself and includes paintings, sketches, source material and ephemera, studio shots, and a series of black-and-white drawings created exclusively for this publication. The volume also features an in-depth and deeply considered essay by art historian Catherine Lampert, a text by poet and writer Roger Robinson, and an illustrated chronology.

Born in Berlin in 1931 to Jewish parents, the eight-year-old Auerbach was sent to England in 1939 to escape the Nazi regime. His parents stayed behind and died in a concentration camp in 1943. Now in his eighties, Auerbach is still producing his distinctly sculptural paintings of friends, family and surroundings in north London, where he has made his home since the war. The art historian and curator Catherine Lampert has had unique access to the artist since 1978 when she first became one of his sitters. With an emphasis on Auerbach’s own words, culled from her conversations with him and archival interviews, she provides a rare insight into his professional life, working methods and philosophy. Auerbach also reflects on the places, people and inspirations that have shaped his life. These include his experiences as a refugee child, finding his way in the London art world of the 1950s and 1960s, his friendships with Lucian Freud, Francis Bacon and Leon Kossoff, among many others, and his approaches to looking and painting throughout his career. For anyone interested in how an artist approaches his craft or his method of capturing reality this is essential reading.

British artist Euan Uglow (1932–2000) maintained a lower profile than others of his generation, yet his beautiful, intelligent, humane, and often witty landscapes, still lifes, and figure studies are today gaining the recognition they so clearly deserve. Many critics and admirers now consider Uglow one of Britain’s greatest post-war artists. This is the first book devoted to Uglow and his oeuvre. Richard Kendall’s essay explores Uglow’s fundamental attitudes, beliefs, and processes in the years 1950 to 1970, and Catherine Lampert looks at the content and personal nature of the artist’s paintings over a lifetime, emphasizing his growing attention to color and light. The volume reproduces every known oil painting by Uglow—a total of more than 400 works--some 80 of which are here reproduced for the first time. In addition to a chronology, bibliography, and exhibition history for each work, the catalogue entries provide many other details and illuminating notes, including the artist’s own observations.Exhibition Schedule:Marlborough Gallery, London (opens May 2007)