round Four -- stage-by-stage format

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Throughout the last forty years, the works of Frank Auerbach and the very specific world they evoke have been an inescapable presence in British figurative painting. Together with the equally powerful works of his two somewhat older colleagues, Francis Bacon and Lucian Freud, and those of Auerbach's close contemporary and friend Leon Kossoff, with whom he studied under David Bomberg in the late 1940s and early 1950s, Auerbach has been a singular and uncompromising artistic force. All four artists have stood firm, holding up painting as the primary means of adding to the sum of useful art in the world. Their activity has taken place throughout a largely sceptical half century and more, as the idea of art as real image has moved away from material realisation through oil on canvas. For the twentieth century, from which culturally we have not yet escaped, was dominated by collage, photography and film, as far as two-dimensional depictions of the world are concerned.


ni'o ca'o pi ro lo'e ro moi be lo'i pu nanca vo

no mei da poi finti ke'a fa la'o m Frank

Auerbach m zo'u ge da gi lo'e ge ja'a sai gi ge

se steci be fi lo'i munje gi to'e se sucta gi

te xargau be fa da no mu'ei se rivbi da da'o vi

lo'e brito nu fe zi'o nai di cintyxra i a bu

zo'u ge ge loi ge dunli be fi lo'e ka ce'u

mutce lo'e ka ce'u vlipa gi se finti be re ge

ja'a ru'e tolci'omau gi gunkansa be a bu be'o

po'u la'o m Francis Bacon m a la'o m Lucian

Freud m gi lo'e co'e be lo'e jibni be a bu bei

lo'e ka ce'u ce'u ge cabna gi pendo ku be'o

po'u la'o m Leon Kossoff m noi ke'a e a bu ve

ckule fi'o ctuca la'o l David Bomberg l ca le

ge pa so vo so'i gi pa so mu so'u moi be lo'i

nanca gi a bu pu je ca ge ge carmi steci gi

jdari to'e tugranda gi larcu be zi'o vlipa i

le vo ta'e larfinti pu je ca ge sanli jdari gi

sarji lo'e nu lo'e nu cintyxra cu ralju lo'i se

zukte fi lo'e nu jmina fi loi ge selplifre gi

se larfinti be vi lo'e munje i le vo du cu

gasnu ca pi ro lo ge so'e roi so'u mu'ei krici

gi za'u fi'u re si'e be lo ctonanca ca ba'o lei

mu'e lo'e si'o lo'e vislarcu cu zasti pixra cu

binxo lo sepli be lo'e ge pu'u binxo lo marji

gi jalge be lo'e nu grasu se di'o lo fanbu'u

i ki'u bo le'e re no moi be lo'i nanca pa no no

mei be'o noi ma'a ku'u ba'o nai na rivbi ke'a

ja'a sai se ralmau lo'e jmajyxra e lo'e se

kacma e lo'e skina se ra'a lo'e ge relcimde gi

pixra be lo'e munje ni'o


For the last forty years the work of Frank Auerbach has been

the only world, abstract, impossible to avoid in the British

painting scene. The equally very powerful works of his two

slightly older colleagues Francis Bacon and Lucian Freud, those

of his close contemporary and friend Leon Kossoff, with whom he

studied under David Bomberg in the forties and early fifties,

and himself have been intensely personal, firmly uncompromising,

artistically powerful. The four artists have been staunch

supporters of painting as the main activity for adding to the

productive works of art in the world. The four have acted during

a half century that for the most part would believe, and once

the idea that visual art as an actual representation had become

separate from the materialization resulting from oil on a canvas,

because the 20th century, which we have not yet escaped, is

indeed less significant than collages and photographs and movies

when it comes to two dimensional images of the world.


> loi se cupra be la frank. aurbax.

> ca'o le purtei poi nanca li vono

> cu munje pe'a lo ka'inonlarcu

> gi'e se rivbi kakne noda ku'u le brito cimxra


> .i loi dunli cnigau se cupra be

> la fransis. beikon. .e la lucian. froid.

> poi ke'a jo'u ru kulnu cmima zi'e

> noi ke'a milxe slabu be'o

> .e tu'e la lian. kosaf.

> noi la deivid. bombrg. cu ctuca ke'a jo'u ru

> ca'o loi reno nanca poi li pasovono krasi ke'a tu'u

> .e ru

> cu pu mutce ke sevzi stace ke'e

> gi'e prane curve zukte

> gi'e larcu cnigau


> .i lo vo larfi'i pu mutce zanru

> le du'u le nu cimxra zukte

> cu ralju lo'i tadji be zenba be se pilno ke larcu se cupra


> .i loi so'i prenu

> ca'o ko'a goi le purtei poi nanca li muno

> pu krici le du'u le larcu

> pu binxo le sepli be loi krati poi

> jalge le marji ctile .e le bukrkanva


> .i ca'o le renomoi ctonanca ku

> lo kacmyxra .e lo girxra .e lo -mu'uxra

> cu zmadu ralju be fo lo plita pixra be le munje


> .i lo vo larfi'i cu gunka ca'o ko'a


The many productions of Frank Aurbakh during the past forty years are a

'world' of representors of zero art and can be avoided by nobody in the

british moist-picture culture. The many equal newdoing productions of

Francis Bacon and Lucian Froid, who along with him was culturally a member

and who was gently familiar, - and Lian Kosaf, who David Bomeberg taught

along with him during the many twenty yearses which began with 1940 - and

he, were much and selfly honest and perfect pure volitional ones and artsy

newdoers. The four art-inventors strongly approve of the fact that

moist-picture volitional ones are principle in the set of methods of

increase of use and artwork. The many people, during the past which was in

year fifty, believed that art became separate from the many representors

which are results of material style and canvas. During the twentieth

century, the photographs and the group pictures and the moving pictures were

all more principal, connected with the planar pictures of the world. The

four art-inventors worked during this past.


ko'a goi le so'imei selzba be la frank.aurbax. goi fy. bei ca ze'apu nu'i

la'u lo nanca be li 40 cu munje pe'a le'i sinxa be le nomei larcu .i no

prenu poi srana le gugrbritici cimpixra kulnu ku'o ka'e rivbi tu'a ko'a

le so'imei dunli je citno selzba be la fransis.beik,n. joi la

luci,an.froid. goi ly. joi la lian.kosaf goi ky. cu ke mutce je sevzi

vrude ke'e je ke prane bo curve je larcu bo citno zukte .i ly. pu kansa

fy. le ka ce'u kulnu bo cmima je milxe bo slabu .i ky. joi la

deivd.bomberg. joi fy. ctuca ze'a nu'i la'u le nanca be li 20 nu'u co'a

li 1940::

le 4 larcu finti cu tugni sai lo du'u le cimpixra cu ralju le'i tadji be

le terze'a be le ni ce'u nunpli je ke larcu selzba

le so'imei prenu be ze'apu nu'i la'u le nanca be li 50 cu pu jinvi lo du'u

lo'e larcu co'a toljorne le so'imei sinxa be seja'e le ke marji tadji ke'e

je ke velxra bukpu

ca'o lo ctona'a be li 19tu'otu'o:: le kacma pixra .e le girzu pixra .e le

skina vu'o noi ke'a jorne le pitpixra pe le terdi ku'o pu zmadu fi le


le 4 larcu finti pu gunka ca'o le bi'unai pu temci


The many creations of Frank Auerbach which he has made over the past 40 years

are a world, so to speak, of null art. Nobody pertaining to Britishistani

watercolor culture can avoid them.

The manifold equal and new creation of Francis Bacon and Luschian Freud and

Lian Kosaf is very and self-righteously perfectly pure and artistically newly

acting. Freud, like Auerbach, was culturally memberous and somewhat familiar.

Kosaf and David Bomberg and Auerbach taught for 20 years starting in 1940.

The 4 artists strongly agreed that watercolor is the chief of the methods for

the amount of increase in the amount of use and artistic creation.

The many people quantified by the last 50 years thought that art had begun to

dissociate from the many signs that resulted in material methods and

pictorial cloth.

For over 1900 centuries, the photograph and the group picture and the movie,

all of which joined the earth's flat picture, were greater in chiefness.

The 4 artists worked during the aforesaid past time.


ni'o le so'i selfinti pe la frank.auerbax. ge'u poi ba nu'i lo 40

nanca nu'u pu selzbasu ri ku'o cu munje sa'enai le kunti selzbasu .i

noda poi srana le skari be fi le djacu be'o je brito kulno cu kakne le

nu rivbi ru

.i lei finti pe la frantsis.baikyn .e lucyn.froid .e lian.kosaf ge'u

noi ... je cnino ku'o cu carmi je sevzi drani


le vo finti cu carmi tugni vo'a le du'u le skari be fi le djacu be'o

cu le ralju se te pilno le nu zenba be fa le pu'u larcu zbasu fe le ka

carmi seila'e di'u pu tolbirti seljimpe mi ...

le so'i prenu pu jinvi le du'u le su'u larcu kei pu co'a sepli ...

.i ba nu'i lo 190000 nanca nu'u ku le selkacma joi le girzu pixra joi

le skina noi sel gunma lei plita pixra po terdi ku'o zmadu ru le ka


le vo finti pu gunka ca le purci selcusku purci bo temci


The many creations of Frank Auerbach which after 40 years were made by him

are a universe of empty works. Nothing of the watercolour and british

culture enables us to avoid them.The artists Francis Bacon, Lucian Freud and

Lian Kosaf, who ... and new, are intensely and egoistically correct.


All four artists strongly agree that watercolour is the main tool for

increasing the intensity of works of art, which I'm not sure I understand

.... Many people were of the opinion that Art was beginning to separate

.... After 190000 years the lighting, the grouped pictures and the cinema

which together are the two-dimensional pictures of earth are more important

than that. The four artists worked during the early concept past times.


le so'i se finti be la'o y. Frank Auerbach .y poi ri pu zbasu ca'o pa

nanca be li 40 cu munje lo kunti se finti .i noda poi srana loi

djacycinta e loi brito kulnu cu curmi lenu ma'a rivbi ru .i le larcyzba

po'u la'o y. Francis Bacon .y .e la'o y. Lucian Freud .y .e la'o y. Lian

Kosaf .y zi'e poi bu'ali'o gi'e cnino cu carmi je sevzi drani

li'o ni'o ro le vo larcyzba pu simxu tugni sai fi ledu'u loi djacycinta

cu ralju le'i se pilno poi zengau le ni carmi fa lo larcu se finti .i mi

na'e birti ledu'u mi jimpe la'edi'u li'o

i so'i prenu pu jinvi ledu'u lesi'o larcu kei pu co'a se fendi li'o

i ba li 1900 poi nanca vau da po'u lei gusni kujoi lei girzu pixra

kujoi lei skina zo'u da po'u le plita pixra be le terdi cu vajnymau

la'edi'u .i le vo larcyzba pu gunka ca le clira sidbo purci


> The many works of Frank Auerbach created in his

> first 40 years are a universe of empty-type

> inventions.


> Nothing pertaining to watercolours and British

> culture allow us to avoid it/them.


> The artists Francis Bacon, Lucian Freud and Lian

> Kosaf, something and new, were intensely self correct.


> ...


> Each of the four artists strongly mutually agreed

> that watercolour is the principal tool for

> increasing the intensity of art.


> I'm not certain I understand the referent of the

> last sentence.


> Many people have opined that the concept of art

> started to be divided.


> After 1900, illuminations and group pictures and

> cinema showing pictures of the Earth were more

> important than the aforementioned art.


> The four artists worked during the early development

> of these ideas.