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 largely celebrated―he is likely to be the world’s hottest residing painter. yet he's additionally whatever else: an incisive and unique philosopher on art.
This new version contains a revised advent and 5 new chapters which disguise Hockney’s construction considering that 2011, together with arrangements for the larger photo 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 luck, marked first by means of 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 demanding at paintings on his Comédie humaine, a chain of full-length photos painted within the studio.
The conversations among Hockney and Gayford are punctuated via amazing and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened by means of sensible 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
If you set up a rule about anything, another artist will come along and break it. MG There are even some pictures you could call ‘photorealist’, such as Early Morning, Sainte-Maxime. DH There are. But I didn’t want to be stuck in the position I’d got into. I went to live in Paris to break it. And when I was living there in the early 70s, I felt very dead-ended. I’d given up some paintings, abandoned them. Actually, I was just drawing at that point. There was something wrong with what I was doing – I’ve called it ‘obsessive naturalism’ – but then I didn’t know what it was.
Bigger Trees Near Warter or/ou Peinture sur le motif pour le Nouvel Age Post-Photographique, 2007 The trees near Warter, February 2008 Sketching in situ, March 2008 Painting Bigger Trees Nearer Warter, Winter 2008, an early six-panel version of the scene A moment of reflection in the Bridlington attic studio, March 2008 The viewers standing in front would intuitively empathize with it. I’m very aware that the photograph can’t do anything like it; a photograph couldn’t show you space in this way.
Loads of people would have howled him down. MG That must have sounded outrageous in 1961. DH He probably liked that in the way I would, just perversely. But I looked not just at Bacon but also at Dubuffet, because his drawing like children’s art or graffiti was a way of going against the academic training I’d had. MG You wanted to paint something real? ’ It can’t go anywhere. Even Pollock’s painting is a dead end. ’ But De Kooning’s answer – ‘That’s right, and it’s impossible not to’ – always seemed to me to be wiser.
A Bigger Message: Conversations with David Hockney by Martin Gayford