Last November, a painting titled *Potiphar’s Wife* by British artist Euan Uglow surfaced in a private sale at Christie’s in London, sparking renewed interest among art historians and collectors. The work, depicting a woman reclining against a blue wall with a man in a T-shirt seemingly restrained by a length of orange cloth, was long sought after by Catherine Lampert, a distinguished art historian and curator who had known Uglow since her early twenties. Lampert had organized Uglow’s first major exhibition in 1974 and was working on the artist’s catalogue raisonné—a comprehensive annotated inventory of his works—during his final months before he died of cancer in August 2000.

Lampert recalls Uglow’s cryptic discussions about the painting in those last days when he allowed her to record his insights. She treasured details he shared, such as the “satiny and still” vertical yellow band anchoring the composition and the movement of the drapery, which deepened her understanding of the work.

Now approaching 80, Lampert continues to be a vital figure in contemporary art, having recently co-authored the catalogue raisonné of Lucian Freud’s paintings, curated a retrospective of Frank Auerbach, and contributed essays to exhibitions by Hurvin Anderson and the National Portrait Gallery’s Freud show. She also opened *Euan Uglow: An Arc from the Eye* at MK Gallery in Milton Keynes—the artist’s first significant show in two decades.

Born in Washington, D.C., in 1946, Lampert moved to London at age 20 to study sculpture at the Slade School of Fine Art. Early on, she pursued her own path outside traditional class settings, drawing inspiration from interactions with fellow artists and potters, such as Sudanese ceramicist Mohammed Abdalla. Her career later included positions at the Arts Council, the Hayward Gallery, and, from 1988 to 2001, directorship of the Whitechapel Gallery.

Lampert has been persistent in promoting artists she admires. She credits Lucian Freud with persuading the Royal Academy to exhibit Frank Auerbach at a time when the painter was largely overlooked. Similarly, a 2019 exhibition of Paula Rego’s paintings curated by Lampert helped spark broader recognition for the artist. She sees a similar potential resurgence for Uglow.

Lampert’s connection with Auerbach was deeply personal and enduring. She sat as his model weekly for two-hour sessions from 1978 until his death in November 2024, making her his longest-standing sitter after his wife. The experience, she says, was life-changing. Their relationship extended beyond art; in 2013, she visited Berlin to see the Stolperstein memorial—small plaques commemorating Holocaust victims—outside the building where Auerbach had lived as a child. Both of his parents were murdered at Auschwitz after he escaped to Britain at age eight.

She described how small details and shared history deepened her emotional attachment to the artists she worked with, stressing that such relationships are grounded in care rather than intimacy. Lampert fondly recalled moments like giving Auerbach a shoulder massage at his 93rd birthday when he was frail, an act that surprised some guests but reflected the closeness developed over decades.

Lampert also spent months after Auerbach’s death cataloging books and documents in his studio, contributing to the meticulous compilation of Freud’s catalogue raisonné alongside co-author Toby Treves. This involved decoding personal references, model nicknames, and daily appointments, creating a vivid and detailed record of Freud’s life and work.

Her relationship with Lucian Freud began in 1981, marked by weekly visits and personal anecdotes that illustrate his unique spirit and charm. Freud’s demanding approach to portraiture meant some potential sitters declined due to the time required; for example, Uglow himself refused, citing the commitment. Lampert acknowledged that Freud’s portraits, including one of David Hockney that took 120 hours, demanded extraordinary patience.

Timeliness was crucial to these painters. Lampert noted that Auerbach, Uglow, Freud, and Leon Kossoff all insisted on punctuality, unable to endure uncertainty about whether sitters would arrive.

Reflecting on her decades-long involvement in this world, Lampert described the profound personal benefits she found: “Everything. I always came out in a really good mood. It never failed.” Her enduring engagement with art, artists, and their legacies continues to enrich contemporary understanding of British painting’s most significant figures.