By Martin Gayford
“Sumptuously illustrated, this radiant quantity encapsulates what it really potential to be a visible artist.” ―Booklist
David Hockney’s exuberant paintings is extremely praised and commonly celebrated―he might be the world’s preferred dwelling painter. yet he's additionally whatever else: an incisive and unique philosopher on art.
This re-creation contains a revised creation and 5 new chapters which conceal Hockney’s creation given 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 tricky interval the exhibition’s large luck, marked first via a stroke, which left Hockney not able to talk for a protracted interval, through 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 used to be tough at paintings on his Comédie humaine, a chain of full-length photographs painted within the studio.
The conversations among Hockney and Gayford are punctuated by way of miraculous and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened via wise 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
MG Big as it is, close up, you can see that the painting was made up of quick, free, calligraphic brushstrokes. DH I had in my head a kind of anti-photographic thing, but also Chinese painting, late Picasso – meaning the marks are all visible and boldly made with the arm. 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.
The picture had elements of traditional perspective construction – there was a building on one side, a road winding away on the other – but it was really the structure of the trees that made the space in it. It was mainly composed of a network of bare twigs and branches, arching above you on either side. It was complex in the way that the pattern of the blood vessels of a human body is complex: an organic system not easily reducible to the straight lines and sharp angles of Euclidean geometry. Gazing up into it, you got lost in the multiplicity of it, but the sensation was a pleasant one.
You have to stylize it or something, interpret it. You’ve got to accept the flat surface. Not try and pretend it’s not there. Doesn’t that mean that we learn how to get used to pictures and interpret them? And isn’t that one reason why we are fascinated by pictures? I certainly am. I’ve always believed that pictures make us see the world. Without them, I’m not sure what anybody would see. A lot of people think they know what the world looks like because they’ve seen it on television. But if you are deeply fascinated by what the world really looks like, you are forced to be very interested in any way of making a picture that you come across.