David Hockney: A Bigger Picture

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And I loved the idea of painting this thing that lasts for two seconds: it takes me two weeks to paint this event that last for two seconds” (David Hockney by David Hockney, p. This is not so much about honesty – after all, film has so many devices, illusions and conventions that honesty can be little more than another fiction – but about a cardinal rule, not to put the viewers at a disadvantage, not to present a more privileged position of knowledge to which they are denied entry. A nice spot of painting in the sun (it never rains) and then home to tea; it sometimes feels as complacent as it looks. All 50 canvases hung together reveal Hockney's great technical skill and fascination with technology itself. It follows his move away from photography to find renewal in nature, working outside for the first time, through the seasons and in all weathers.

David Hockney: A Bigger Picture - Wikipedia

IPADS David Hockney has always been radical in his use of unconventional technology to make art, from the Polaroid camera and fax machines to the iPhone in 2009, iPad in 2010, and high-definition DVR more recently; the iPad, in a sense, substituted his need for sketchbooks. His recent work depicts a corner of Yorkshire, a tiny area that he is examining as obsessively as Monet did Giverny. All represent a view over a swimming pool towards a section of low-slung, 1960s modernist architecture in the background. The dustwrapper is Near Fine+: crisp and vibrant, Fine but for a minor 5cm surface scratch to the front panel.The intensely coloured Californian landscape paintings, and the large Grand Canyon works are a precedent to the recent amplified Yorkshire works, a synthesis of observation and memory, saturated colour and spatial configuration, giving the impression of physical, intellectual and emotional travel.

David Hockney: A Bigger Picture – review - The Guardian

David Hockney: A Bigger Picture ( Spanish: David Hockney: Una Visión Más Amplia; Basque: David Hockney: Ikuspegi Zabalago Bat) was an exhibition at the Guggenheim Museum Bilbao from 15 May to 30 September 2012 of recent work of the English painter David Hockney. Four months later up in Bridlington I showed him a two-hour rough cut that stuck quite closely to the thesis he had been keen to propound from the outset, the primacy of the painted mark over the photograph. Back at his London studio, Hockney assembled the photos along with photographs of Peter Schlesinger taken in Kensington Gardens wearing the same pink jacket. Hockney uses a limited palette – cobalt blue, ultramarine blue, raw sienna, burnt sienna, raw umber, Hooker's green, Naples yellow and titanium white – applied either mixed together or as tints.This brings us to the third very large work Hockney mentioned, which again, he hadn’t even begun to ponder four years ago: films made using several cameras simultaneously. In two seconds, Hockney found, he could establish the basic colour and tone of a sky, and put in some faint clouds in three seconds. As a gay man, he was also a fan of the beefcake magazine Physique Pictorial, which was published in Los Angeles.

David Hockney Bigger Picture: Books - AbeBooks David Hockney Bigger Picture: Books - AbeBooks

The importance of a sense of place, defines the specificity of these pictures and of the locations they memorialise. Made up of 50 canvases of the same size, Hockney's massive painting was painted in the open air in situ, although it was necessary to use a computer to see everything at once.Discussing “A Bigger Splash” in his autobiography Hockney describes his fascination with the depiction of such an ephemeral thing as a water splash. Seine farbenprachtigen Gemalde mit den Landschaften seiner Heimat East Yorkshire sind 2012 in einer beeindruckenden Schau in London, Bilbao und Koln zu sehen. The painting of The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) presents a similar visual paradox. As much as possible we would use the interviews with David in his car, to create the feel of a road movie. It was an intuitive feeling, but I was well aware that isometric perspective was Japanese and Chinese.