By Martin Gayford
“Sumptuously illustrated, this radiant quantity encapsulates what it really capability to be a visible artist.” ―Booklist
David Hockney’s exuberant paintings is extremely praised and largely celebrated―he could be the world’s hottest dwelling painter. yet he's additionally anything else: an incisive and unique philosopher on art.
This new version incorporates a revised creation and 5 new chapters which hide Hockney’s construction considering that 2011, together with arrangements for the larger photograph 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 good fortune, marked first via a stroke, which left Hockney not able to talk for a protracted interval, by way of the vandalism of the artist’s Totem tree-trunk, and the tragic suicide of his assistant almost immediately 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 was once not easy at paintings on his Comédie humaine, a sequence of full-length pics painted within the studio.
The conversations among Hockney and Gayford are punctuated through excellent and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened via 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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Extra resources for A Bigger Message: Conversations with David Hockney
Indeed, at a pinch, any object or view will do, anything can be enthralling to look at and depict: a foot and a slipper, for example. Of course, Hockney has his characteristic preoccupations as an artist: spacious landscapes, water, wilderness, people he knows, human bodies, plants, dogs, interiors. But in his case, prior to focusing on a specific sight is the fascination he finds in translating just about anything he sees into lines, dots, splodges of colour, brushstrokes – in a word, marks. He believes that is an aspect of being human.
There was something wrong with what I was doing – I’ve called it ‘obsessive naturalism’ – but then I didn’t know what it was. Photography was causing it; I’d started to take photographs at that point. I wanted to get out. I found that was a trap, and said so. I wanted to stop it. MG You’ve been preoccupied with a sort of struggle with photography since the mid-70s, haven’t you? You use it in a judo-like way against itself. DH I suppose I’m interested in images, and photography is how most people see the world – even its colours (although photography can’t do colours very well).
The only exception is the view that can be seen through a window. From the seventeenth century, if not before, painters have been working outdoors, in the middle of their subject: nature. Certainly this was common practice in the later eighteenth century, and for early nineteenth-century landscape painters such as Jean-Baptiste-Camille Corot. But it was a method for producing sketches or small pictures. The large works that were normally shown in exhibitions at the Paris Salon and at London’s Royal Academy were too big to transport outside.