Catherine Lampert, a prominent figure in the art world, has dedicated much of her life to fostering relationships with some of the 20th century’s most revered artists. As a historian, curator, and model, she has spent an astonishing 46 years sitting for Frank Auerbach, the esteemed British painter. In an exclusive interview, Lampert shares her profound insights into the connections and experiences that have shaped her life and career alongside luminaries such as Lucian Freud and Euan Uglow.
A Celebration of Euan Uglow
Last November, the art community buzzed with excitement upon the appearance of Euan Uglow’s *Potiphar’s Wife* at a private sale hosted by Christie’s in London. “We were all so thrilled,” Lampert recalls, her enthusiasm palpable. The work captures a woman reclining against a striking blue wall, intertwined with a man in a T-shirt, both ensconced in a cascade of orange fabric. This poignant piece was the last Uglow discussed with her during his battle with cancer in August 2000. Having known Uglow since her early twenties, Lampert had orchestrated his first major exhibition in 1974, and in those final months, she was deeply involved in compiling his catalogue raisonné—a comprehensive account of his works.
“Euan was quite cryptic,” she reflects. “But in those last months, he allowed me to record our conversations, revealing little gems of insight.” These insights, such as the significance of a “satiny and still” yellow band anchoring the painting, are treasures Lampert holds dear. Now seated at an aged square table in her London home, which has hosted countless artistic conversations, Lampert embodies the essence of a quiet titan in contemporary art.
A Life of Art and Connection
In the past year alone, Lampert has co-authored the catalogue raisonné for Lucian Freud, curated an Auerbach retrospective, penned essays for various exhibitions, and recently opened *Euan Uglow: An Arc from the Eye* at MK Gallery, marking the artist’s first major showcase in two decades. “It’s a lot for someone approaching 80,” she admits with a wry smile. “But I can’t seem to stop. Art consumes me—it’s my distraction, my passion.”
Born in Washington, D.C., in 1946, Lampert arrived in London as a 20-year-old exchange student, eager to study sculpture at the Slade School of Fine Art. She carved her own path, forgoing traditional classes to explore her creativity in alternative spaces like Camden Art Centre. Her connections in the art world grew, leading her to influential roles at the Arts Council and the Hayward Gallery, eventually becoming the director of the Whitechapel Gallery until 2001.
“I’ve always been persistent,” she notes, reflecting on her ability to champion underappreciated artists. Lampert’s determination was instrumental in securing exhibitions for both Auerbach and Paula Rego during periods of obscurity. “A good relationship with artists is paramount,” she explains, “and finding their work thrilling is what drives me to expand its reach.”
Enduring Legacy and Personal Loss
Lampert’s bond with Auerbach is particularly profound; she was his longest-serving sitter after his wife, dedicating two-hour sessions weekly from 1978 until his passing in November 2024. “It’s a unique way of life,” she muses. “Frank’s influence on me was nothing short of life-changing. He affected me emotionally in ways I never anticipated.”
In 2013, while curating a Daumier exhibition, Lampert visited Berlin and discovered the Stolperstein—the commemorative stone marking the site where Auerbach’s parents were murdered during the Holocaust. “Those small details become incredibly meaningful,” she says. “You begin to visualise Frank’s life, and your connection to the art and artist transcends mere professionalism.”
As she reminisces about Auerbach’s 93rd birthday, her affection is evident. “I remember giving him a shoulder massage; he was feeling quite uncomfortable. It was a tender moment, and I knew he needed it. I miss him dearly,” she confesses, her loss palpable.
A Legacy of Artistic Relationships
Lampert’s artistic journey has also intertwined with Lucian Freud, whom she met in 1981. Their relationship blossomed into weekly sessions, where the rapport between artist and sitter flourished. “Freud had an irresistible charm,” she recalls, describing his ability to connect with people on an intimate level. “He could make you feel like you were the only one in the room.”
As she delves into the Freud archives, Lampert finds herself revisiting postcards she sent him over the years. “He kept them, which tells you something about our bond. Some were answered, others not, but our connection endured.”
Reflecting on her time sitting for Auerbach, Freud, and Uglow, Lampert asserts, “What I gained from these experiences is immeasurable. Each session left me uplifted, invigorated.”
*Euan Uglow: An Arc from the Eye* is currently on display at MK Gallery in Milton Keynes until 31 May, while *Lucian Freud: Drawing into Painting* can be visited at the National Portrait Gallery in London until 4 May.
Why it Matters
Catherine Lampert’s story is not just about art; it is a testament to the profound relationships that shape our understanding of creativity and the human experience. As she continues to advocate for and document the works of influential artists, her reflections remind us of the enduring power of art to connect, heal, and inspire. In an age where art often feels commodified, Lampert’s dedication serves as a beacon, illuminating the significance of genuine artistic collaboration and the emotional bonds that lie at the heart of creation.
