By Martin Gayford
“Sumptuously illustrated, this radiant quantity encapsulates what it really capacity to be a visible artist.” ―Booklist
David Hockney’s exuberant paintings is very praised and commonly 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 re-creation incorporates a revised creation and 5 new chapters which disguise Hockney’s construction considering the fact 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 exhibit. a tough interval the exhibition’s large good fortune, marked first by way 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 not easy at paintings on his Comédie humaine, a chain of full-length pics painted within the studio.
The conversations among Hockney and Gayford are punctuated via miraculous and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened through 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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Extra info for A Bigger Message: Conversations with David Hockney
The photography I did took me to Chinese scrolls. MG In fact, your work from the early 1960s has no conventional single-point perspective: it isn’t about looking into a box. You just put two things together: a palm tree and a building, say, and that makes some space between them. Or you put figures against a flat background or in a shallow space, like a stage. DH A lot of my early paintings are just isometric: that means they have no single vanishing point. I always thought it was better. It was an intuitive feeling, but I was well aware that isometric perspective was Japanese and Chinese.
This was a return to the scenes of Hockney’s youth. DH I’ve always loved this part of the world, and I’ve known it for a long time. In my early teenage years I worked on a farm here on breaks from Bradford Grammar School; it was a place where you could get a job in the holidays. So I came and stooked corn in the early 1950s. I cycled around, and I discovered it was rather beautiful. Bridlington. Gardens and Rooftops III, 2004 Midsummer: East Yorkshire, 2004 David Hockney painting The Road to Thwing, Late Spring, May 2006 Most people don’t realize that, because even if you drive to Bridlington from West Yorkshire you think it consists of just a few fields.
It’s so northern and unfashionable as to be positively exotic. I changed trains at Doncaster and again at Hull. It was a slow and surprisingly long journey. On a recommendation from Hockney’s friend and assistant David Graves, I had booked a room at the Expanse Hotel – aptly named, since at low tide it commands a view over a vast stretch of eastward-facing beach, with the white cliffs of Flamborough Head in the distance to one side, and the cold flat mass of the North Sea extending to the horizon.
A Bigger Message: Conversations with David Hockney by Martin Gayford