One of the most versatile and inventive English artists of the postwar era, David Hockey settled in Los Angeles in 1964. An especially iconic example from a group of double portraits of friends and associates from the 1960s, American Collectors (1968) depicts the contemporary-art collectors Fred and Marcia Weisman in the sculpture garden of their of their Los Angeles home. As stiff and still as the objects surrounding them, the couple stands apart, his stance echoed in the totem pole to the right, hers in the Henry Moore sculpture behind her. Brilliant light flatters the scene and sets the couple in sharp relief; they seem oblivious to each other as well as to their art
In the late 1980s, David Hockney bought a house on the beach in Malibu, California and proceeded to paint interiors that showcased the incredible view of the sea from his picture window. “When you live this close to the sea,” he said, “when it literally comes up and splashes the windows, it is not the horizon line which dominates, but the close movement of the water itself. It’s like fire and smoke, endlessly changing, endlessly fascinating.” In Breakfast at Malibu, Sunday (1989) the Pacific Ocean is almost opalescent and seems to blend in with the horizon near the top edge of the canvas.
Part of a Private Collection, This Painting was Photographed While On Loan to the Metropolitan Museum of Art in NYC.
David Hockney’s most famous paintings of Los Angeles, such as A Bigger Splash (1967), depict a commonplace aspect of the city: private swimming pools. This is the final and the largest of three versions on the same theme, all based on an image that the artist found in a book about home pools. Hockney took care to keep the backdrop as flat — almost abstract — as possible, using rollers to apply the acrylic of the azure sky. The splash, in contrast, meticulously rendered with small brushes, took the artist nearly two weeks to finish. “I loved the idea of painting this thing which lasts for two seconds,” he said. “The painting took much longer to make than the splash existed for.” The result is one of the most iconic depictions of a certain upscale California lifestyle; aspirational, and perhaps more Hollywood make-believe than real.
Photographed as Part of the David Hockney Career Retrospective, on view at The Metropolitan Museum of Art in NYC Through February 25th, 2018.
When I was a small child, growing up in southern California, my parents used to take the family on camping vacations to Yosemite National Park. I probably went there four or five times up to the age of 8 or so. While these vacations are many decades in the past for me now, my very vivid memories of the park and its many tall and fragrant redwood trees, crystal clear shallow streams, majestic mountains, tumbling waterfalls, and other uniquely beautiful natural sights and smells stay with me to this day. Yosemite is breathtaking.
British artist David Hockney must feel similarly, because he has created a new series of vivid iPad drawings featuring the wild landscape of Yosemite that you can see and enjoy now at Pace Gallery in Chelsea. When I stood in front of these uncomplicated yet profoundly compelling drawings, I felt like I was back in the park again. Everything looked so familiar to me.
You can almost smell the trees.
Happy Little Trees.
From the late 1800s through most of the 1960s, Yosemite used to have a summertime evening ritual in the park called the Firefall, where visitors could gather to watch a ball of fire get tossed off the side of the one of the mountains, Glacier Point: like a waterfall, only with fire. They stopped doing it because of the danger of a forest fire, and because it got too popular and folks were trampling the meadows to try and see it. It was pretty cool to experience in person though. I’ll never forget it.
David Hockney’s The Yosemite Suite will be on Exhibit Through June 18th, 2016 at PACE, Located at 537 West 24th Street in the Chelsea Gallery District.
David Hockney’s Large Interior, Los Angeles (1988) applies a cubist treatment of geometry to open up the interior of a large, modern, urban living space. In this painting, the conventional tunnel perspective of a regular image is expanded to give a fisheye panorama of the entire space.
The viewer’s attention is initially drawn to the central living area, but then begins to wander and explore; the fireplace, the kitchen, dining area, even an external deck and outdoor garden invites us toward it. The floor, furnishings, walls and all the contours of the ceiling faces are folded open but without loosing any dimension or becoming flat. Light pours through the skylights and exterior opening illuminating the main living area with bright vibrant colors.
Photographed in the Metropolitan Museum of Art in NYC.