By Martin Gayford
“Sumptuously illustrated, this radiant quantity encapsulates what it actually potential to be a visible artist.” ―Booklist
David Hockney’s exuberant paintings is very praised and generally celebrated―he is likely to be the world’s most well-liked residing 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 creation 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 express. a tough interval the exhibition’s large luck, marked first via a stroke, which left Hockney not able to talk for a protracted interval, via 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 couple 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 chain of full-length snap shots painted within the studio.
The conversations among Hockney and Gayford are punctuated through marvelous and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened by means of intelligent 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 info for A Bigger Message: Conversations with David Hockney
In other words, Hockney used very novel methods to tackle some of the perennial themes of art: trees and sunsets, fields and dawns. The problems of painting and drawing these things were familiar not only to Turner and Constable, but also to Claude Lorrain in the seventeenth century. Their challenges were Hockney’s too: how can one translate a visual experience such as a sunrise – a fleeting event involving expanses of space, volumes of air, water vapour and varying qualities of natural light – into a picture?
Every single plant, bud and flower seems to be standing up straight. Then gravity starts to pull the vegetation down. It was the second year I noticed that; the third, you notice even more. At the height of the summer, the trees become a mass of foliage, and the branches are pulled down by the weight. When it falls off, they’ll start going up again. This is the sort of thing you notice if you are looking carefully. The fascination just grew for me here. This was a big theme, and one I could confidently do: the infinite variety of nature.
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. In 1994, before I had actually met Hockney himself, his contemporary at the Royal College of Art and lifelong friend, R. B. Kitaj – now dead – told me an anecdote when we sat in his house in Chelsea: Hockney and I arrived at the Royal College of Art on the same day with about eighteen other kids.
A Bigger Message: Conversations with David Hockney by Martin Gayford