By Martin Gayford
“Sumptuously illustrated, this radiant quantity encapsulates what it actually capability to be a visible artist.” ―Booklist
David Hockney’s exuberant paintings is very praised and extensively celebrated―he might be the world’s preferred residing 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 disguise Hockney’s creation for the reason 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 by way of a stroke, which left Hockney not able to talk for an extended 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 number of months later, Martin Gayford visited Hockney within the L.A. studio, the place the fully-recovered artist was once challenging at paintings on his Comédie humaine, a sequence of full-length snap shots painted within the studio.
The conversations among Hockney and Gayford are punctuated via striking and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened through clever 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 resources for A Bigger Message: Conversations with David Hockney
If the methods by which he makes drawings are sometimes cutting-edge, what he is doing is primordial. Drawing, making a mark on a wall or a clay pot: these are activities that humans have been doing for tens of thousands of years. MG Perhaps it was playing on paper with pencils, paints, brushes, charcoal – anything – that made you want to become an artist in the first place. Self-portrait, 1954 Sketching the hawthorn in situ, May 2007 DH Yes, making marks always appealed to me. I’m still at it.
But you don’t agree. DH I love Ernst Gombrich’s The Story of Art; I read it years ago. Recently I read his newer book A Little History of the World, and liked that too. But his phrase, ‘The Conquest of Reality’, which is a chapter heading in The Story of Art, was slightly naive. That’s insinuating that the European painters conquered the way we look at the world – and that’s all there is to it. But I think it’s precisely the way we look at the world that’s the problem. I believe photography and the camera have deeply affected us.
Fridaythorpe Valley, August 2005 Rainy Night on Bridlington Promenade, 2008 DH I love that we’re just by the sea here. When you walk out of my door, there’s a great big space there. It makes me feel good when I go out for a walk on the beach. ’ That’s a very nice, poetic idea. Almost immediately, we were off in a zippy little convertible, on a quick flip round the countryside so that I could see the places he had been painting. ‘We think we’ve found a paradise here’, he remarked of the landscape inland from Bridlington, meaning by ‘we’ himself, his partner John Fitzherbert and Jean-Pierre (otherwise known as J-P): in other words, the Hockney household.