W G Sebald – Max Ferber, 1991

Frank Auerbach Head of Catherine Lampert VI (1979-80) Charcoal and chalk on paper, 77.2 x 58.4 cm MOMA, New York
Frank Auerbach Head of Catherine Lampert VI (1979-80) Charcoal and chalk on paper, 77.2 x 58.4 cm MOMA, New York


Not far from the locks at the harbour mouth, on a road that ran from the docks to Trafford Park, I came across a sign on which TO THE STUDIOS had been painted in crude brush-strokes. It pointed in to a cobbled yard in the middle of which, on a patch of grass, an almond tree was in blossom. At one time the yard must have been part of a carriage business, since it was enclosed partly by stables and outbuildings and partly by one- or two-storey buildings that had formerly been living quarters and office premises. In one of these seemingly deserted buildings was a studio which, in the months to come, I visited as often as I thought acceptable, to talk to the painter who had been working there since the late forties, ten hours a day, the seventh day not excepted.

When one entered the studio it was a good while before one’s eyes adjusted to the curious light, and, as one began to see again, it seemed as if everything in that space, which measured perhaps twelve metres by twelve and was impenetrable to the gaze, was slowly but slowly but surely moving in upon the middle. The darkness that had gathered in the corners, the puffy tidemarked plaster and the paint that flaked off the walls, the shelves overloaded with books and piles of newspapers, the boxes, work benches and side tables, the wing armchair, the gas cooker, the mattresses, the crammed mountains of papers, crockery and various materials, the paint pots gleaming carmine red, leaf green and lead white in the gloom, the blue flames of the two paraffin heaters; the entire furniture was advancing, millimetre by millimetre, upon the central space where Ferber had set up his easel in the grey light that entered through a high north-facing window layered with the dust of decades. Since he applied the paint thickly, and then repeatedly scratched it off the canvas as his work proceeded, the floor was covered with a largely hardened and encrusted deposit of droppings, mixed with coal dust, several centimetres thick at the centre and thinning out towards the outer edges, in places resembling the flow of lava. This, said Ferber, was the true product of his continuing endeavours and the most palpable proof of his failure. It has always been of the greatest importance to him, Ferber once remarked casually, that nothing should change at his place of work, that everything should remain as it was, as he had arranged it, and that nothing further should be added but the debris generated by painting and the dust that continuously fell and which, as he was coming to realize, he loved more than anything else in the world. He felt closer to dust, he said, than to light, air or water. There was nothing he found so unbearable as a well-dusted house, and he never felt more at home than in places where things remained undisturbed, muted under the grey, velvety sinter left when matter dissolved, little by little, into nothingness. And indeed, when I watched Ferber working on one of his portrait studies over a number of weeks, I often thought that his prime concern was to increase the dust. He drew with vigorous abandon, frequently going through half a dozen of his willow-wood charcoal sticks in the shortest of time, and that process of drawing and shading on the thick, leathery paper, as well as the concomitant business of constantly erasing what he had drawn with a woollen rag already heavy with charcoal, really amounted to nothing but a steady production of dust, which never ceased to except at night. Time and time again, at the end of a working day, I marvelled to see that Ferber, with the few lines and shadows that had escaped annihilation, had created a portrait of great vividness. And that the more did I marvel when, the following morning, the moment the model had sat down and he had taken a look at him or her, he would erase this portrait yet again, and once more set about excavating the features of the model, who by now was distinctly wearied by this manner of working, from a surface already badly damaged by the continual destruction. The facial features and eyes, said Ferber, remained ultimately unknowable for him. He might reject as many as forty variants, or smudge them back into the paper and overdraw new attempts upon them; and if he then decided that the portrait was done, not so much because he was convinced that it was finished as through sheer exhaustion, an onlooker might well feel that it had evolved from a lineage of grey, ancestral faces, rendered unto ash but still there, as ghostly presences, on the harried paper.

W G Sebald, 1944-2001

The Emigrants.  (Max Ferber) / Die Ausgewanderten. (Max Aurach) 1991

Description: Subtitled: They come when night falls to search for life. (Im Abenddämmer kommen sie / und suchen nach dem Leben)

The reference in the image of Frank Auerbach’s painting  ‘To the Studios’, 1977, is of the entrance to Auerbach’s studio in Albert Street, Camden, North London, where he has worked since 1954. The studio is described by W G Sebald in the story, Max Ferber, where Auerbach is the artist Max Ferber (Max Aurach in the signal German story).

The text describes the process of Auerbach’s drawing a portrait, which is illustrated in the book with ‘Head of Catherine Lampert VI’, (1979-80).

As a young man in Manchester the narrator befriends an expatriate German-Jewish painter. Years later the artist gives the narrator his mother’s history of her idyllic life as a girl in a Bavarian village. It was written as she and her husband awaited deportation to the East and death.


Frank Auerbach. To the Studios, 1977, Tate. 
Frank Auerbach. Head of Catherine Lampert VI (1979-80) Charcoal and chalk on paper, 77.2 x 58.4 cm MOMA, New York

Author: jeh

Jeremy Hunt is Director of the AAJ Press (Art & Architecture Journal / Press) – a writer and consultant on art and public space

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