Individual Artists

A Bigger Message: Conversations with David Hockney by Martin Gayford

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By Martin Gayford

“Sumptuously illustrated, this radiant quantity encapsulates what it actually ability to be a visible artist.” ―Booklist

David Hockney’s exuberant paintings is very praised and extensively celebrated―he may be the world’s most well-liked dwelling painter. yet he's additionally anything else: an incisive and unique philosopher on art.

This new version contains a revised creation and 5 new chapters which disguise Hockney’s construction given that 2011, together with arrangements for the larger photo exhibition held on the Royal Academy in 2012 and the making of Hockney’s iPad drawings and plans for the convey. a tough interval the exhibition’s large luck, marked first by means of a stroke, which left Hockney not able to talk for an extended interval, through the vandalism of the artist’s Totem tree-trunk, and the tragic suicide of his assistant presently thereafter. Escaping the gloom, in spring 2013 Hockney moved again to L.A. a number of months later, Martin Gayford visited Hockney within the L.A. studio, the place the fully-recovered artist used to be difficult at paintings on his Comédie humaine, a sequence of full-length photographs painted within the studio.

The conversations among Hockney and Gayford are punctuated by way of mind-blowing and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened by way of smart insights into the contrasting social and actual landscapes of Yorkshire, Hockney’s birthplace, and California. 181 illustrations, 154 in colour

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Additional resources for A Bigger Message: Conversations with David Hockney

Sample text

So I went on and did a series. MG Trees are the stars of much of your recent work. Why the fascination? DH Trees are the largest manifestation of the life-force we see. No two trees are the same, like us. We’re all a little bit different inside, and look a little bit different outside. You notice that more in the winter than in the summer. They are not that easy to draw, especially with foliage on them. If you are not there at the right time, it is difficult to see the shapes and volumes in them.

Lauren, Dawn, Simon and Matthew Hockney, 2003 5 A bigger and bigger picture The next time I made the journey to Bridlington was on Good Friday, 6 April 2007. This time, when I changed trains at Doncaster I found I was not alone. In a little two-coach train bound for Scarborough, I found a deputation from the art world: Norman Rosenthal of the Royal Academy, his wife, Manuela Beatriz Mena Marques of the Prado, and their two daughters, plus Hockney’s London dealer David Juda and his wife. We were all en route to see Hockney’s latest work, which was apparently huge and intended for the end wall of the grandest gallery in the Royal Academy at Burlington House during that year’s Summer Exhibition.

Kitaj among them. That show is generally credited as marking the emergence of British Pop art. But Hockney, as his longtime dealer John Kasmin once remarked to me, was a Pop artist ‘for about five minutes’, if at all. He has never really belonged to any school or movement. What he had was an ability to make pictures that were fresh, witty – ‘cheeky’ was a word Kasmin used – and full of the mood of the times. His art was based, from the beginning, on a fundamental technical ability: Hockney was and has always been a remarkable draughtsman.

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