David Hockney
We Two Boys Together Clinging (1961)
Born	9 July 1937 (1937-07-09) (age 72) Bradford, England
Nationality	English
Field	Painting, Set design, Photography
Movement	Pop art

David Hockney, CH, RA, (born 9 July 1937) is an English painter, draughtsman, printmaker, stage designer and photographer, who is based in Bridlington, Yorkshire, although he also maintains a base in London. An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century.^[1]

[edit] Life

Hockney was born in Bradford and educated first at Wellington Primary School. He later went to Bradford Grammar School, Bradford College of Art and the Royal College of Art in London, where he met R. B. Kitaj. While still a student at the Royal College of Art, Hockney was featured in the exhibition Young Contemporaries—alongside Peter Blake—that announced the arrival of British Pop Art. He became associated with the movement, but his early works also display expressionist elements, not dissimilar to certain works by Francis Bacon. Sometimes, as in We Two Boys Together Clinging (1961), named after a poem by Walt Whitman, these works make reference to his love for men. From 1963 Hockney was represented by the influential art dealer John Kasmin. In 1963 Hockney visited New York, making contact with Andy Warhol. Later, a visit to California, where he lived for many years, inspired Hockney to make a series of paintings of swimming pools in Los Angeles using the comparatively new Acrylic medium, rendered in a highly realistic style using vibrant colours. In 1967, his painting, Peter Getting Out Of Nick's Pool, won the John Moores Painting Prize at the Walker Art Gallery in Liverpool. He also made prints, portraits of friends, and stage designs for the Royal Court Theatre, Glyndebourne, La Scala and the Metropolitan Opera in New York City.

Hockney's older sister, Margaret, who also lives in Yorkshire, is an artist of still-life photos.

[edit] Works

[edit] The "joiners"

David Hockney has also worked with photography, or, more precisely, photocollage. Using varying numbers of small Polaroid snaps or photolab-prints of a single subject Hockney arranged a patchwork to make a composite image. Because these photographs are taken from different perspectives and at slightly different times, the result is work which has an affinity with Cubism, an affinity which was one of Hockney's major aims - discussing the way human vision works. Some of these pieces are landscapes such as Pearblossom Highway #2,^[1][2] others being portraits, e.g. Kasmin 1982,^[3] and My Mother, Bolton Abbey, 1982.^[4]

These photomontage works appeared mostly between 1970 and 1986. He referred to them as "joiners".^[5] He began this style of art by taking Polaroid photographs of one subject and arranging them into a grid layout. The subject would actually move while being photographed so that the piece would show the movements of the subject seen from the photographer's perspective. In later works Hockney changed his technique and moved the camera around the subject instead.

Hockney's creation of the "joiners" occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses to take pictures. He did not like such photographs because they always came out somewhat distorted. He was working on a painting of a living room and terrace in Los Angeles. He took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. Upon looking at the final composition, he realized it created a narrative, as if the viewer was moving through the room. He began to work more and more with photography after this discovery and even stopped painting for a period of time to exclusively pursue this new style of photography. Frustrated with the limitations of photography and its 'one eyed' approach,^[6] he later returned to painting.

[edit] Later works

A Bigger Splash, 1967

In 1974, Hockney was the subject of Jack Hazan's film, A Bigger Splash (named after one of Hockney's swimming pool paintings from 1967).

In 1977 David Hockney authored a book, including the poetry of Wallace Stevens, of etchings called "The Blue Guitar: Etchings By David Hockney Who Was Inspired By Wallace Stevens Who Was Inspired By Pablo Picasso". The etchings, inspired by and meant to represent the themes of Stevens' poem, "The Man With The Blue Guitar". It was published as a portfolio and as a book in Spring, 1997 by Petersburg Press.^[7]

Hockney was commissioned to design the cover and a series of pages for the December 1985 issue of the French edition of Vogue magazine. Consistent with his interest in Cubism and admiration for Pablo Picasso, Hockney chose to paint Celia Birtwell (who appears in several of his works) with different views—her facial features as if the eye had scanned her face diagonally.

Another important commission of his was to draw with the Quantel Paintbox, a computer program that allowed the artist to sketch direct onto the monitor screen. This commission was taken by Hockney in December 1985. Using this program was similar to drawing on the PET film for prints which he had much experience in. His work created using the Quantel formed part of a BBC series featuring a number of artists.

A Bigger Grand Canyon, 1998, National Gallery of Australia.

His A Bigger Grand Canyon, a series of 60 paintings which combined to produce one enormous picture, was bought by the National Gallery of Australia for $4.6 million.

On 21 June 2006, his painting of The Splash fetched £2.6 million - a record for a Hockney painting.^[8]

In October 2006 the National Portrait Gallery in London organized one of the largest ever displays of Hockney's portraiture work, including 150 of his paintings, drawings, prints, sketchbooks and photocollages from over the course of five decades. The collection consisted of his earliest self-portraits up into his latest work completed in 2005.^[9] The exhibition proved to be one of the most successful in the gallery's history, and Hockney himself assisted in displaying the works. The exhibition ran until January 2007.

In June 2007, Hockney's largest painting, Bigger Trees Near Warter, which measures 15 x 40-foot, was hung in the Royal Academy's largest gallery in their annual Summer Exhibition.^[10] This work "is a monumental-scale view of a coppice in Hockney's native Yorkshire, between Bridlington and York. It was painted on 50 individual canvases, mostly working in situ, over five weeks last winter."^[11] In 2008, he donated this work to the Tate Gallery in London, saying: "I thought if I'm going to give something to the Tate I want to give them something really good. It's going to be here for a while. I don't want to give things I'm not too proud of...I thought this was a good painting because it's of England...it seems like a good thing to do".^[12]

Many of Hockney's works are now housed in a converted industrial building called Salts Mill, in Saltaire, near his home town of Bradford.

Since 2009, Hockney has made drawings using the Brushes iPhone application. He spoke with Lawrence Weschler in an interview:

"It's always there in my pocket, there's no thrashing about, scrambling for the right color. One can set to work immediately, there's this wonderful impromptu quality, this freshness, to the activity; and when it's over, best of all, there's no mess, no clean-up. You just turn off the machine. Or, even better, you hit Send, and your little cohort of friends around the world gets to experience a similar immediacy. There's something, finally, very intimate about the whole process."^[13]

Weschler's article also includes an audio slideshow of the images along with commentary from Weschler and Hockney himself.

[edit] The Hockney-Falco thesis

In the 2001 television programme and book, Secret Knowledge, Hockney posited that the Old Masters used camera obscura techniques, utilized with a concave mirror, which allowed the subject to be projected onto the surface of the painting. Hockney argues that this technique migrated gradually to Italy and most of Europe, and is the reason for the photographic style of painting we see in the Renaissance and later periods of art. This theory has been opposed by the Art Renewal Center who have published several articles attempting to disprove "Secret Knowledge" by means of historical documents and the experiences of living artists who do not use any photography yet have produced photorealistic drawings and paintings.^[14][15][16]

[edit] Public life

A conscientious objector, Hockney worked as a medical orderly in hospitals as his National Service in the 1950s.

He was made a Companion of Honour in 1997 and is also a Royal Academician.

Hockney serves on the advisory board of the political magazine Standpoint,^[17] and contributed original sketches for its launch edition, in June 2008.^[18]

[edit] See also

• A Walk Around the Hotel Courtyard, Acatlan
• Mr and Mrs Clark and Percy

[edit] References

[edit] External links

• Hockneypictures.com Official website
• DavidHockney.com tribute site
• Salts Mill in Saltaire, Yorkshire, England, contains a permanent exhibition of Hockney's work.
• David Hockney visits own exhibition at Nottingham Contemporary [BBC Nottingham]
• David Hockney on 'A Bigger Splash' [BBC Nottingham]
• Interview with David Hockney Nov 2009 [BBC Nottingham]
• Peter Getting Out Of Nick's Pool (1966) at The Walker Art Gallery, Liverpool, UK
• New Yorker discussion of Hockney's suggestion that the Old Masters used optical devices to aid drawing
• Hockney leads smoking ban protest BBC article.
• Jonathan Jones, Cooler than Warhol, more enduring than Freud (Interview), The Guardian, 8 September 2006
• A A Gill, The Turner Surprise: David Hockney on Turner, The Times, 17 June 2007
• David Hockney, The Fallen Beech Trees and the Lost Canvas, The Guardian, 27 March 2009
• David Hockney's Long Road From Los Angeles to Yorkshire, The New York Times, 15 October 2009
• David Hockney: Portrait of the Old Master, Tim Adams, The Guardian and Observer, 1 November 2009