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DAVID HOCKNEY

COMMUNICATION AND PARTNERSHIP DEPARTMENT

PRESS KIT

DAVID HOCKNEYRETROSPECTIVE21 JUNE - 23 OCTOBER 2017

#EXPOHOCKNEY

DAVID HOCKNEYRETROSPECTIVE21 JUNE - 23 OCTOBER 2017

CONTENTS

1. PRESS RELEASE PAGE 3

2. PLAN OF THE EXHIBITION PAGE 5

3. IN CONNECTION WITH THE EXHIBITION PAGE 11

4. PUBLICATIONS PAGE 12

4. CATALOGUE EXTRACTS PAGE 14

5. BIOGRAPHY PAGE 18

6. LIST OF WORKS PAGE 21

7. PARTNERS PAGE 28

8. VISUALS FOR THE PRESS PAGE 31

9. USEFUL INFORMATION PAGE 35

communicationsand partnerships department75191 Paris cedex 04

directorBenoît Parayretelephone00 33 (0)1 44 78 12 [email protected]

press officerAnne-Marie Pereiratelephone00 33 (0)1 44 78 40 [email protected]

www.centrepompidou.fr

10 May 2017

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PRESS RELEASEDAVID HOCKNEY RETROSPECTIVE21 JUNE - 23 OCTOBER 2017GALERIE 1, LEVEL 6

In collaboration with London’s Tate Britain and the Metropolitan Museum of New York,

the Centre Pompidou is to present the most comprehensive retrospective ever devoted to the work

of David Hockney. The exhibition celebrates the artist’s 80th birthday, retracing his entire career

through more than 160 works (paintings, photographs, engravings, video installations, drawings

and printed works), including his most iconic paintings (swimming pools, double portraits

and monumental landscapes) and some of his most recent creations.

It focuses in particular on Hockney’s interest in modern technologies for the production and

reproduction of visual images. Moved by a constant concern to ensure a wide circulation for his

work, he has successively taken up the camera, the fax machine, the computer, the printer,

and most recently the iPad. For him, artistic creation is an act of sharing.

Edited by Didier Ottinger, curator of the exhibition, a 320-page catalogue with 300 illustrations

will be published by the Centre Pompidou. This will include essays by Didier Ottinger,

Chris Stephens, Marco Livingstone, Andrew Wilson, Ian Alteveer and Jean Frémon, and also

an extensive chronology.

communicationsand partnerships department75191 Paris cedex 04

directorBenoît Parayretelephone00 33 (0)1 44 78 12 [email protected]

press officerAnne-Marie Pereiratéléphone00 33 (0)1 44 78 40 [email protected]

www.centrepompidou.fr

A Bigger Splash, 1967

28 April 2017

With support from

Media partnership with

/

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The exhibition opens with paintings of Hockney’s youth, produced while at art college in his native

Bradford. Images of an industrial England, they testify to the influence of the gritty social realism of his

teachers, members of the so-called Kitchen Sink School. At the Bradford School of Art and the Royal

College of Art in London, Hockney discovered and assimilated the English take on Abstract Expressionism

represented by Alan Davie. In Jean Dubuffet he found a style (informed by graffiti, naïve art...) that

corresponded to his quest for an expressive and accessible art, and in Francis Bacon the boldness

to explicitly thematise the subject of homosexuality. His discovery of Picasso, finally, convinced him that

an artist should not limit himself to a single style: he called one of his early exhibitions “Demonstrations

of Versatility”.

In 1964, he discovered the West Coast of the United States, where he became the painter of a sunny

and hedonistic California, his Bigger Splash (1967) acquiring an iconic status. It was there, too, that

he embarked on the large double portraits that celebrate the realism and perspectival vision of the

photography he also assiduously engaged in. In the United States, where he now lived, Hockney was

confronted by the critical ascendancy of abstract formalism (Minimal Art, Colour Field Painting…).

To the Minimalist grid, he responded by painting building facades and geometrically mowed lawns,

and to “stain colour field painting” (which used dilute paint to stain the canvas itself) with a series

of works on paper depicting the water of a swimming pool under different lights.

In his costumes and stage designs for opera Hockney took his distance from a photographic realism

whose possibilities he now felt he had exhausted. Abandoning the classical perspective associated

with the camera (“the perspective of a paralysed Cyclops”, he once said), he experimented with

different ways of constructing space.

Looking again at Cubism, which sought to synthetically represent the vision of a viewer who moved

in relation to the subject, Hockney used a Polaroid camera to produce what he called “joiners”,

representations of the subject through multiple images joined together. Systematising this “polyfocal”

vision, he created Pearblossom Highway from more than a hundred photos taken from different points

of view. Searching for new principles for the pictorial representation of space, Hockney found inspiration

in the Chinese scroll paintings that render the visual perceptions of a viewer in movement. Combined

with the multiple viewpoints of Cubist space, this allowed him to produce Nichols Canyon, a representation

of his car journey from the city of Los Angeles to his studio in the hills.

In 1997, Hockney returned to Northern England and the countryside of his childhood. His landscapes

reflect his complex reconsideration of the question of space in painting. Using high-definition cameras,

he also brought movement to the Cubist space of his Polaroid “joiners”, juxtaposing video screens

to compose a cycle of four seasons – a subject that since the Renaissance has evoked the inexorable

passage of time.

In the 1980s, Hockney began to explore the new, digital graphics tools available for the computer,

producing new kinds of images. The computer was followed by the smartphone, and then the iPad, which

he has used to create ever more sophisticated drawings, circulated among his friends by means

of the Web.

5

PLAN OF THE EXHIBITION

Entrance

Exit

1 - Works of Youth 2 – Abstraction and the Love Paintings

3 - Demonstration of Versatility

9 - “Joiners” and Polaroids

Self-portraits and “Camera Lucida”

11 – From Utah to Yorkshire

13 – iPad Drawings

12 – The Four Seasons

14 – Fresh Paintings

10 – Enveloping Landscapes

A Rake’sProgress

4 – California

Family Portraits

5 – Double Portraits

6 – Confronting Formalism

7 –

Tow

ards

the

Rein

vent

ion

of S

pace

8 –

Pape

r Po

ols

6

INTRODUCTION

What else can you do? Picasso worked every day.

Matisse worked every day. That’s what artists do, until they drop dead.

Ever since the 1950s, David Hockney has been producing joyful, inventive and exploratory work.

Embracing the legacy of the founders of modern painting, he took from Matisse the use of intense

and expressive colour and the goal of making each painting a celebration of the joy of life, from Picasso

his stylistic freedom and his invention of a way of seeing – Cubism – capable of taking account of the

movement, the passage of time, inherent in perception. Hockney has constantly shown that the cultivated

eye and practised hand are still the best tools for achieving an ample and plenteous representation

of the world. To the supposed obsolescence of painting in the age of technology, he has countered images

drawing on photography, the fax machine, the photocopier, the moving image, the graphics tablet…

The sixty years of artistic activity covered by the retrospective show that the paintings of a hedonistic

and superficial California for which he is famous have acted to obscure the complexity of a body of work

that today can only be seen as a learned and complex inquiry into the nature and status of images

and the phenomenological laws that govern their conception and perception.

ROOMS

ROOM 1 - WORKS OF YOUTHThe posters against “compulsory running” that the teenage Hockney posted on the noticeboards at

Bradford Grammar School foretell an art concerned to engage as much as to charm or amuse the viewer.

“People would say, ‘I like your posters’ for whatever reason, and that was nice.” On joining the

Bradford School of Art in 1953, Hockney’s took English painters for his first models, finding inspiration in

the realism Walter Sickert and adopting the dandyish eccentricity of Stanley Spencer. His earliest works

are marked by the gritty realism championed by Derek Stafford, the most significant of the Bradford

teachers, a member of the Kitchen Sink School, English expression of the social realism concerned to

depict the everyday conditions of the working class and the poor.

ROOM 2 - ABSTRACTION AND THE LOVE PAINTINGSSharing the pacifist convictions of his father, Hockney made posters for CND (Campaign for Nuclear

Disarmament) demonstrations, and did his national service as a conscientious objector. On entering

London’s Royal College of Art in 1959 he encountered the painting of Alan Davie, the first English painter

to take on board the lessons of the American Abstract Expressionists, whom he discovered for himself

in 1958 (“Jackson Pollock”, Whitechapel Gallery) and 1959 (“The New American Painting”, Tate Gallery).

His passion for “public address” led him to his “Propaganda Paintings”, which – in still abstract idiom –

championed first vegetarianism, and then, more seriously, homosexuality. Parodying the analytic rigour

of the abstractionist avant-garde, he embarked on a duly numbered series of “Love Paintings”,

combining the influences of Jean Dubuffet, from whom he borrowed his graffiti-inspired

draughtsmanship, and Francis Bacon, from whom he took the use of raw canvas.

CABINET D’ART GRAPHIQUE 1 - A RAKE’S PROGRESS

Made in the early 1960s, the 16 prints of the series A Rake’s Progress echo the series of the same title

created by William Hogarth between 1733 and 1735, whose eight paintings and corresponding engravings,

inspired by trace the rise and fall of a young man whose desire for luxurious living and the pleasures of

the flesh lead to a descent into moral depravity, debt and madness.

AN OVERVIEW OF THE EXHIBITION

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For Hockney, who first visited in July/August 1960, New York was the corrupting metropolis that London

had been for Tom Rakewell, the anti-hero of Hogarth’s fable. In his account, we see the artist whose sale

of work to the city’s Metropolitan Museum of Art affords him access to the pleasures of the “Big Apple”.

One of the etchings reflects his physical transformation when, in response to a subway ad declaring that

“Blondes have more fun”, he bleached his hair.

ROOM 3 - DEMONSTRATION OF VERSATILITYThe Picasso retrospective at the Tate Gallery, London, in the summer of 1960 had a lasting impact on

Hockney at a time when he was still seeking to determine what form his art should take. “He [Picasso]

was capable of every style. The lesson I draw is that we should make use of them all”. Hockney had come

to feel that the different schools of painting and other expressions of the contemporary mainstream could

be for him no more than elements of a formal vocabulary in the service of subjective expression.

To profess the stylistic eclecticism that he thus took as his programme, he grouped the four paintings

he showed at the “Young Contemporaries” exhibition of 1961 under the title Demonstrations of Versatility.

Pop art (Jasper Johns), colour field painting (Morris Louis), expressionist figuration (Francis Bacon),

and the Siennese Renaissance (Duccio di Buoninsegna) were successively or conjointly evoked in his

paintings, which appeared as collages of highly diverse styles (even including the “Egyptian”!).

The opacity and flatness doctrinally central to modern painting Hockney reinterpreted in playful,

narrative form (Play Within a Play, 1963).

ROOM 4 - CALIFORNIAJohn Rechy’s novel City of Night and the photographs in “Physique Pictorial” magazine nourished

in Hockney the image of a hedonistic and tolerant California. In January 1964, he made his first trip to

Los Angeles. Answering to the clarity and intensity of the Californian light, and echoing too the example

of Andy Warhol, Hockney adopted the acrylic paints that allowed the creation of precise yet almost

immaterial images. Alongside photos from American gay magazines, he took many photographs

of his own as a basis for his new paintings, some of which have the white margin typical of Polaroid

photographs or picture postcards. Maintaining his dialogue with contemporary styles and painterly idioms

he gave the luminous ripples of his swimming pools the doodled forms of Jean Dubuffet’s L’Hourloupe

compositions, and transformed the surface into the colour field of a Mark Rothko or Barnett Newman.

“Form and content are actually one […]. And if you go to one extreme, what you get, I think, is a dry, arid

formalism that seems a bit of a bore to me. You go to the other extreme, and you get banal illustration,

which is also a bore.” As he made greater use of photography following the acquisition of a 35 mm

camera, Hockney’s painting flirted with photorealism.

CABINET D’ART GRAPHIQUE 2 - FAMILY PORTRAITSThe portrait, a genre to which he has constantly returned, allows Hockney to express the profoundly

empathetic nature of his art. He has only ever painted or drawn people close to him, people who please

him, people he wants to please. Like Dibutades, to whom Pliny the Elder attributes the invention of the

portrait, Hockney expresses in his portraits a loving desire. His passion for Peter Schlesinger and his love

of the poems of Constantine Cavafy inspired the first of his pen-and-ink portraits. Haunted by the memory

of Picasso’s neo-classical portraits, these exercises in graphic virtuosity would come to their highest point

of development in 1970s. Many were produced in Paris, in what had been Balthus’s studio in the Cours

de Rohan. Contemporary with the most naturalistic phase of his painting, the “classical” order of the

1970s portraits would be put into question when Hockney embarked on a reconsideration of Cubism.

ROOM 5 - DOUBLE PORTRAITSIn 1968, Hockney started on the first of a series of large format double portraits, that of the Los Angeles

collectors Fred and Marcia Weisman. Bathed in the light of Piero della Francesca’s Baptism of Christ,

these compositions also recall Hopper, Balthus and Vermeer. The psychological relationship that ties

together the subjects of his double portraits quickly became the essential subject of his work, though

Looking at Pictures on a Screen (1977) – which shows Henry Geldzahler contemplating reproductions

of several works from the National Gallery in London – illustrates Hockney’s on-going interest in the

8

mechanical reproduction of the image for mass circulation. Two unfinished double portraits, George

Lawson and Wayne Sleep (1972-1975) and My Parents (1977), show the painter becoming weary of a too

narrow naturalism. “It was a real struggle. Looking back, I think the difficulties stemmed from the acrylic

paint and the naturalism.”

ROOM 6 - CONFRONTING FORMALISMIn the mid-1960s, Hockney divided his recent paintings into two types: one concerned with formal

experiment (“Technical Pictures”), the other with narrative content (“Extremely Dramatic Pictures”).

Rather than “technical”, the first group deserves perhaps to be called “ironic”, in that Hockney was here

concerned to put resolutely abstractionist formal innovations to figurative use. The doodles of Jean

Dubuffet’s L’Hourloupe series and the sinuous lines of Bernard Cohen became the rippling reflection

of light on pool water, while Frank Stella’s geometries became the facades of buildings in Los Angeles.

Returned to the fertility of figuration, the “colour fields” of Robyn Denny sprouted grass as Beverly Hills

lawns, while the stain colour fields of Morris Louis and Helen Frankenthaler neatly fill up Californian

swimming pools. “Horrified” by the idea of a mainstream painting, Hockney affected an apparent frivolity.

His cheek did not fail to provoke the ire of Clement Greenberg, the influential theorist of formalist

abstraction, who said of Hockney’s show at the André Emmerich gallery, New York, in 1969: “These are

works that should have no place in any self-respecting gallery.”

ROOM 7 - TOWARDS THE REINVENTION OF SPACEThe commissioning of a stage design for Stravinsky’s A Rake’s Progress in 1975 brought Hockney back

to the theatre and its illusions. After the naturalistic period of the double portraits, governed by the

perspectival space of photography, two paintings opened up new horizons. Reimmersing himself in the

work of William Hogarth (who had painted the series A Rake’s Progress in 1733-1735), he discovered

the frontispiece the latter had produced for a treatise on perspective. “Kerby” – the name of its publisher

– became the title of a work that was a catalogue of errors of perspective. In the foreground is a sun

rendered in “reverse perspective”, a construction that would become extremely important in Hockney’s

later work. The second painting, Invented Man Revealing Still Life, confronts the formal invention

of a Picasso-inspired figure with the photographic realism of a still life. Kerby (after Hogarth), Useful

Knowledge and Invented Man open a new chapter in the work of David Hockney, characterised by formal

invention and the questioning of central perspective.

ROOM 8 - PAPER POOLS In 1978, at Ken Tyler’s print-making studio, Hockney experimented with new techniques. He had

discovered the works that Ellsworth Kelly and Kenneth Noland had recently made using coloured

and pressed paper pulp, and the texture and colour qualities of this new material inspired him to produce

29 Paper Pools. The ability to suggest rippling reflections on water connects these evocations of changing

light and weather to Monet’s Waterlilies, which Hockney invariably went to see when in Paris. In their

subject matter they also recall Matisse’s 1952 studies for his Piscine. In taking up a material that

approximated more closely than ever to “pure colour”, Hockney was once again close to the French

master, whose conception of the work of art as a celebration of pleasure he shared.

CABINET D’ART GRAPHIQUE 3 - SELF-PORTRAITS AND “CAMERA LUCIDA” »Hockney’s first self-portraits, produced just after his arrival at the Bradford School of Art, testify to his

refinement of dress, a “dandyism” inspired by the example of Stanley Spencer, the English realist painter

of the 1930s. It was to photography that he turned to picture himself in the 1970s, and it was only in 1983

that he took up self-portraiture methodically (starting every day with a self-portrait). Varying in pose a

nd technique, these images are constant in their rigorous realism, a counterpoint to his post-Cubist

photographic and pictorial experiments. In 2000-2001, Hockney embarked on a new series of large

self-portraits in charcoal. Following upon the death of his mother, these show him in doubt and difficulty.

As Picasso had done before him, Hockney rediscovered Rembrandt (thanks to the exhibition of self-

portraits staged by the National Gallery, London, in 1999), a painter who had not feared to confront

his own aging.

9

PRINTERS - HOME PRINTSIn 1986, Hockney started making his “Home Prints”, made using a colour photocopier, superimposing and

printing up to ten forms and colours to produce a mechanised version of Matisse’s cut-outs.

ROOM 9 - JOINERS AND POLAROIDSIn the early 1980s, the interest shown in his photographs by Alain Sayag, curator of photography at the

Centre Pompidou, led Hockney to return to photography. Armed with a Polaroid camera, he set out to

modernise an instrument whose optical presuppositions he thought obsolete. For the immobile Cyclopean

eye to which the camera reduced its user he substituted a viewing subject who registered visual

impressions in space and time. Picasso, once again was central to Hockney’s formal reflections.

In a reworking of Cubism, he juxtaposed his pictures to represent different points of view, creating images

that conveyed vision as a practice in space and time. In this he applied to the Cubist vision lessons learned

from Henri Bergson (the philosopher of duration) and from popularisations of modern physics

(the interconnection of space and time in relativity theory).

ROOM 10 - ENVELOPING LANDSCAPESThe viewer of Hockney’s paintings becomes the literally central character of these new landscapes empty

of any human figure. These works throw off the rules of classical perspective as Hockney, inspired by

Chinese scroll paintings, records in his landscapes and interiors the successive impressions of a viewer

in motion. The multiplicity of viewpoints marshalled together in these paintings reflects the variety

of sensations experienced through time. The painter’s use of reverse perspective, a construction of space

that places the vanishing point behind the viewer, envelops the latter within the work under

contemplation. Hockney’s designs for opera (Puccini’s Turandot in Chicago, Strauss’s Die Frau ohne

Schatten in London) inspired a series of abstract paintings (the “Very New Paintings”) that draw on his

stylisations and colour researches for the theatre. In the autumn of 1988, Hockney discovered in the fax

a tool that allowed him to instantaneously distribute work among his friends, inaugurating a “fax period”.

ROOM 11 - FROM UTAH TO YORKSHIREReturning to Britain in 1997, Hockney transposed the space and chromatic intensity of the “Very New

Paintings” to a series of Yorkshire landscapes. In the United States, he made a series of studies of the

Grand Canyon that led to the production of a monumental work, an assemblage of canvases recalling

his “joiners” made with juxtaposed photographs. In 2004, the landscapes of his Yorkshire childhood

prompted the artistic culmination of Hockney’s interest in modern image technologies. Only computer

simulation allowed the creation of the monumental Bigger Trees Near Warter (2007), a work whose size

(4.57 x 12.19 metres) meant it would not fit into the studio Hockney used at the time. Following in the

footsteps of John Constable, Hockney reinvented the English landscape for the age of the digital image.

ROOM 12 - THE FOUR SEASONSApplying to the moving image his early-1980s experiments with the collaging of photographic images

(the “joiners”), Hockney created the monumental installation The Four Seasons, consisting of

multiscreen images (18 screens per image) resulting from simultaneous recordings on 18

high-definition micro-cameras.

From the Middle Ages to the Renaissance, the theme of the Four Seasons was associated with

meditation on the order of the cosmos and on the passage of time. Hockney, who for years had lived

under the unchanging and radiant sky of California, made his polyptych an ode to the cyclical renewal

of the burgeoning Nature that had fascinated him as a child. Like the work of Nicolas Poussin,

who tackled the theme very late in life, Hockney’s The Four Seasons are a meditation on time lost and

found again.

ROOM 13 - IPAD DRAWINGSA growing interest in the production of digital images led Hockney to make use of early graphics

programmes and go on to explore the possibilities of the iPhone. In April 2010, three months after its

launch by Apple , he used one to produce several hundred images , whose increasing sophistication

10

reflected his growing mastery.

He exploited the digital nature of the images to disseminate them on the web and to e-mail then to his

friends. He soon also came to make use of the recording facility: “I’ve played back the making of my iPad

drawings […]. In The Mystery of Picasso you see Picasso paint on glass. He very quickly understood that

it wasn’t the end result that mattered, but everything that came before. So you see him change direction

and subject, amazingly fast. With an iPad, you can do exactly the same.”

SALLE 14 - FRESH PAINTINGSTravelling from Yorkshire to California, from Los Angeles to Bridlington, Hockney carried with him

the sensations and the colours of the landscapes he had just left, the ideas germinating in the studio.

In the summer of 1997, his first landscapes of Northern England adopted the blazing colour of the

deserts of the American West, the sinuous kinematics of Mulholland Drive.

Red Pot in the Garden (2000), a view of Hockney’s California garden, radiates the same magic as had

been inspired in him a few weeks earlier by the explosion of spring in Yorkshire. In both continuity

and contrast, it is the botanical exuberance of Californian gardens, fantastical and almost threatening,

that explodes in these recent works painted in Los Angeles.

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DAVID HOCKNEYA Bigger Splash

22 June, 8 p.m., CINÉMA 2

The Centre Pompidou offers a chance to meet English director Jack Hazan, who will discuss his film

A Bigger Splash. Made in 1973 in cooperation with David Hockney, who plays himself , the film represents a

unique exploration of Hockney’s aesthetic and day-to-day life. Taking its title from the canvas of the same

name painted in 1967, when Hockney was teaching at Berkeley, Hazan’s film offers a close-up on his

working practices and the execution of a work at the intersection of Pop Art and Hyperrealism.

Jack Hazan, A Bigger Splash (1973, 106’), screening introduced by Jack Hazan and Didier Ottinger

Admission

€14

Concessions €11

Admission free to all members of the Centre Pompidou

(holders of the annual pass)

Pre-sales available online :

http://bit.ly/2qcvrIJ

IN CONNECTION WITH THE EXHIBITION

12

CATALOGUE Edited by Didier Ottinger

Format: 24.5 x 29 cm

320 pages

Stitched

300 illustrations

€44.90

CONTENTS

Serge LasvignesAvant-propos

Bernard BlistènePréface

Didier OttingerQuand Charlot danse avec Picasso : David Hockey à l’ère de la reproductibilité technique des images

Chris StephensJeux en abîme : objectité et illusion dans l’art de David Hockney

Marco LivingtsoneLa dimension humaine

Andrew WilsonManières de regarder et d’être immergé dans un « plus grand tableau »

Ian AlteveerSurface, volume, liquide : eau et abstraction dans les dix premières années de l’œuvre de David Hockney

Jean Frémon

Une passion française

CHRONOLOGIE ET CORPUS D’ŒUVRES

1937-1958Bradford

1959-1960Royal College of Art

1960-1963Démonstration de versatilitéThe Rake’s Progress

1964-1968Californie

1968-1971Doubles portraitsPortraits

1971-1974Face au formalisme

1975-1977De plus grand perspectives : Regarder Picasso

1978-1979Paper Pools

1980-1981Perspectives inversées

1982-1986Après le cubisme

1987-1996Quelques peintures nouvellissimes

1996-2005De l’Utah au Yorkshire

AutoportraitsCamera lucida

2006-2007De plus grands arbres

2008-2016De l’ordinateur à l’iPad

Index bibliographique

Liste des œuvres exposées

PUBLICATIONS

DAVIDHOCKNEY

sous la direction de Didier Ottinger

13

ALBUMEdited by Caroline Edde and Marie Sarré

Format: 28 x 28 cm

60 pages

54 illustrations

€9.50 euros

L’ E X P O S I T I O N | T H E E X H I B I T I O N

DAVIDHOCKNEY

9,50 euros PRIX FRANCEISBN 978-2-84426-780-1

centrepompidou.frboutique.centrepompidou.fr

« Picasso travaillait tous les jours.Matisse travaillait tous les jours.C’est ce que font les artistes. »

“Picasso worked every day. Matisse worked every day.That’s what artists do.”

—David HOCKNEY

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CATALOGUE EXTRACTSDIDIER OTTINGER

WHEN CHARLIE CHAPLIN DANCES WITH PICASSO - DAVID HOCKNEY IN THE AGE OF MECHANICAL REPRODUCTION

Walter Benjamin’s essay on “The Work of Art in the Age of Mechanical Reproduction” offers an echo of the

techno-messianism of Saint Simon in the mid-1930s.1

Technology appears there as an agent of emancipation in the service of the project of social change that

stands as the political horizon of Benjamin’s essay. “Dealing with this apparatus also teaches them that

technology will release them from their enslavement to the powers of the apparatus only when humanity’s

whole constitution has adapted itself to the new productive forces which the second technology has set

free”.2 Boldly elliptical, Benjamin points out how the emergence of revolutionary consciousness coincided

with the invention of photography, inferring from this the revolutionary character of the new medium:

“With the advent of the first truly revolutionary means of reproduction (namely photography, which

emerged at the same time as socialism), art felt the approach of…crisis”.3

The “art” that “felt the approach of…crisis” is quickly identified as painting, whose impermeability

to modern technology leaves it, says Benjamin, to represent the values of the old order in the face

of a cinema whose technical apparatus endows it with aesthetically and politically “progressive” virtues.

“The technological reproducibility of the artwork changes the relation of the masses to art. The extremely

backward attitude toward a Picasso painting changes into a highly progressive reaction to a Chaplin film.”4

More explicit yet is the comparison Benjamin draws between the painter and the magician: “Magician

is to surgeon as painter is to cinematographer. The painter maintains in his work a natural distance from

reality, whereas the cinematographer penetrates deeply into its tissue.”5

Painting and “mechanised” image are the two poles of a dialectic of progress and reaction, of alienation

and emancipation, that Benjamin mobilises in his essay. Technology offers benefits in two different ways.

In being applied, technology raises awareness, acting as a powerful stripper, dissolving the accretions

of superstition that time and habit have deposited on the surface of paintings. Integrated into the making

of art, it endows the images it produces with the emancipatory power inherent to it.

Benjamin’s indictment of painting still echoed in the critical debates of the 1960s and ’70s.

The “progressive” criticism represented by the highly influential journal October (Marxist in orientation,

as suggested by its title) reacted in very Benjaminian terms to the “return of painting” in the early 1980s.

As Benjamin Buchloh put it: “The question for us now is to what extent the rediscovery and recapitulation

of these modes of figurative representation in present-day European painting reflect and dismantle the

ideological impact of growing authoritarianism; or… simply indulge and reap the benefits of this…; or,

worse yet…cynically generate a cultural climate of authoritarianism to familiarise us with the political

realities to come.”6

It was in this context of suspicion that Hockney ventured to develop his painting. The singularity of his

position, however, lies in the fact that like Benjamin he believes in the social vocation of art, a vocation

that could only be fulfilled if the anathema pronounced on his favoured medium was systematically

challenged.

In the domain of theory he would seek to historicise the role of technology, showing how early it had

become integral to painterly practice. And in his practice he would endeavour to assimilate, one by one,

the emerging techniques of image production, making use of the most modern technologies

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and conforming his works to the exigencies of mass reproduction. His response to Benjamin has been

to dissolve the irreducible opposition the latter established between painting and technology,

and to imagine a “mechanised” painting.

1 Rainer Rochlitz writes that Benjamin “confuses technical progress with the progress of art, instrumental rationality with aesthetic rationality. ‘The Work of Art’ stems from the ideology of progress denounced in Benjamin’s late works: from an idea of the ‘wind of history’ blowing toward technical development”: Rainer Rochlitz, The Disenchantment of Art: The Philosophy of Walter Benjamin, trans. J.M. Todd (New York; London: Guilford Press, 1996), p. 161.2 These lines appear only in the second version of the essay, translated in Walter Benjamin, The Work of Art in the Age of its Technological Reproducibility and Other Writings on Media , ed. M.W. Jennings, B. Doherty and T.Y. Levin (Cambridge, MA: Harvard University Press, 2008), pp. 26-27.3 Ibid., p. 244 Ibid., p. 365 Ibid., p. 356 Benjamin H.D. Buchloh, “Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting”, October 16 (Spring, 1981), pp. 39-68.

JEAN FRÉMON

A PASSION FOR FRANCEIs there an enlightenment, a reason, a measure, an order characteristically French? Manifest in the

gardens, the facades, the prose, the images? An invisible thread joining Racine, Poussin, Lenôtre

and Rameau, and them to Manet or Berlioz, Matisse or Ravel ? The clarity one finds in Piero, Bellini,

Fra Angelico… did it not become French? “I like clarity”, says Hockney, “but I also like ambiguity: you can

have both in the same painting, and I think you should.» Whether founded in clarity or ambiguity, there i

s certainly a love between Hockney and France. He visited often in the 1960s. Accompanied by his lover

Peter Schlesinger, he frequently stayed with his friend Douglas Cooper near Uzès; with his London dealer

John Kasmin, who rented the Château de Carennac in the Dordogne for the summers; and with his friend

Tony Richardson – director of A Taste of Honey and The Loneliness of the Long Distance Runner – who owned

a property at Le Nid du Duc, near La Garde-Freinet. Some key paintings were done there, among them

Pool and Steps (1971), in which one sees the absent Peter’s sandals on the edge of the pool, while

Portrait of an Artist (1972) was painted in London from photographs taken at Le Nid du Duc. A great fan

of spas, Hockney often visited Vichy; it was there that he conceived the celebrated Parc des Sources

(1970), in which Peter and Ossie are seen from the back, sitting in garden chairs, set against the false

perspective created by the two converging rows of trees. A third chair is empty: that of the painter,

who had had to remove himself from the scene to photograph it for painting later.

After he broke up with Peter, not wanting to stay in the London flat they had shared, Hockney

took off for Los Angeles; there he decided to visit Paris. On the very day of his departure, on 8 April 1973,

he visited Jean Renoir. In the car, he heard on the radio the news of Picasso’s death.

MARCO LIVINGSTONE

THE HUMAN DIMENSIONBeyond all demonstrations of versatility, stylistic experiments or technical or visual researches, Hockney’s

work over more than 60 years has evidenced a constant attachment to the human figure. It has been for

him a subject of inexhaustible fascination, a mystery never finally plumbed, inspiring an interrogation that

has taken numerous forms, between formal experiment on the one hand and psychological exploration

on the other. Whether contemplating our appearance or behaviour, examining our relationships with

others or retreats into ourselves, the personal experience of the individual or our feelings when love

compels us to give up our isolation, his ambition has remained the same: to get closer to the truth.

To find, as well as clarity, the conviction that comes with long observation, and the means to render those

intuitions. These goals established themselves in Hockney’s work in the early 1970s, when he was still

in his mid-thirties. They remain central to his concerns as he approaches his eightieth birthday.

[…]

© Marco Livingstone, 2017

16

ANDREW WILSON

WAYS OF LOOKING, AND IMMERSION IN “A BIGGER PAINTING”In his painting, David Hockney has never been concerned with verisimilitude, the “truth” of “realism”.

The only “truths” he seeks are about how we see the world and the best means of representing the

emotional spaces that are created when we look at it. The portraits and double portraits he did between

1968 and 1977 are today among the best known and best loved of his works. These, though, are the works

that presented him with the greatest difficulties, as the site of his confrontation with “realism”

and “naturalism”.

At bottom, naturalism is not a matter of reproducing what the artist sees with his or her own eyes, but

of reconstructing the very act of vision, of perception, an experience in which emotional response plays a

very great role. This is why, in 1970, naturalism seemed to Hockney to offer a way of claiming freedom,

one register among others that would allow him to continue his earlier play with different styles. In 1974

he explained that rather than faithfully transcribing an image that might have been produced in a camera,

his naturalism was based on drawing: “If you know how to use your eyes, you can see more than you do

through the camera lens, you can juggle with what you see, while the camera can’t.” The double portraits

are thus manipulated, constructed and defined by drawing, by selective observation, psychologically,

subjectively driven. These give an image that “photographic objectivity” cannot produce. In the same

interview, Hockney declares that “a lens is not as good as a pair of eyes” and that photographic realism

transposed into painting seems to him to be “rather boring. Perhaps because it comes closer to recent

abstract painting, because it does away with drawing.”1

[…]1 Rainer Rochli David Hockney and Pierre Restany, “Une conversation à Paris/A conversation in Paris”, in David Hockney : tableaux et dessin/Paintings and Drawings, exh. cat., Paris, Musée des arts décoratifs, 1974, pp. 17-18.

CHRIS STEPHENS

OBJECTIVITY AND ILLUSION IN THE ART OF DAVID HOCKNEYDavid Hockney is no doubt the best-known and best-loved artist of our time. His work – brilliant, bold

and joyful – can appeal to people who otherwise are not much interested in high art. Over a sixty-year

career, he has created a very diverse and prolific body of work, not only in painting but in print-making,

theatre design, photography, video, and also making images with a range of technologies from photocopier

and fax to iPhone and iPad. The attraction of his work lies to a great extent in his lightness of touch

and his lively palette, which has been compared to Van Gogh’s or Matisse’s, or – perhaps more

convincingly – to Raoul Dufy’s. Behind the ease and good humour evident in much of Hockney’s work,

however, is a very serious aesthetic and intellectual project. Throughout his career in fact, he has been

interested in visual perception, exploring the pleasures involved in, and the problems posed by,

the endeavour to render in a two-dimensional image a world that exists in space and time.

In asking how he can render the world pictorially in a way corresponding to our human mode of vision

and comprehension, Hockney put in question the protocols of painting. He has challenged, in particular,

the adequacy of the monofocal perspective that has dominated figurative painting since the Renaissance;

this has led him to a repeated interrogation of photography, undermining the belief that the monocular

vision of the camera is more truthful than any other. The monofocal perspective theorised by Alberti

and demonstrated by Brunelleschi can capture neither the motion of the visual object nor the movement

of the eye, which, tied to the body and the mind of the observer, constructs an image greatly more complex

in its extension through space and time. This is why in Hockney the critique of photographic vision is

often accompanied by an active exploration of the theory and practice of Cubism

For him, in fact, Cubism succeeded in shattering the conventions of perspective, developing a way

of representing the physical world that both allows the object perceived to be rendered in its three-

dimensionality and takes account of the fact that vision apprehends the object not through static

observation but through movement and memory.

17

IAN ALTEVEER

SURFACE, VOLUME, LIQUID: WATER AND ABSTRACTION IN THE FIRST TEN YEARS OF HOCKNEY’S WORK

In 1963, a year before visiting Los Angeles for the first time, David Hockney painted a canvas picturing

the California of his dreams. Domestic Scene, Los Angeles is a provocative image of two men, one naked

under the shower, the other wearing only an apron. It was inspired by the pictures found in the pages

of the gay physical culture magazine “Physique Pictorial”, a California-based publication Hockney was very

fond of. “California in my mind was a sunny land of movie studios and beautiful semi-naked people,”

he recalled. “It was only when I went to live in Los Angeles six months later that I realised that my picture

was quite close to life ”.1 As in the original image in the magazine, the shower becomes a place

of encounter between the two figures.

“Americans take showers all the time…I knew that from experience and physique magazines.”2 There

resulted a number of paintings inspired by the pages of “Physique Pictorial” and photographs Hockney

bought from the publishers, Bob Mizer’s Athletic Model Guild, in which the shower and tiled pool of the

studio served as settings for the encounters of athletic young men. In the 1961 image that underlies

Boy About to Take a Shower (1964), the water streams copiously down the back of the young Earl Deane.

This cascade does not figure in the version painted by Hockney, who would devote himself to the

translucent and sensual flow of water down the model’s body in his later Man Taking Shower (1965).

During this decade and afterward, the treatment of water would be one of the distinguishing features

of Hockney’s work.

[…]

The variety of effects made possible by the use of acrylics is illustrated by two works of this period that

verge on abstraction: Rubber Ring Floating in a Swimming Pool and Deep and Wet Water. The first derives

from a photograph taken looking down from the edge of a pool. “I was so struck by the appearance of this

photograph, which reminded me of a Max Ernst abstract, that I thought; ‘That’s wonderful, I shall paint

it just as it is’. At first glance, it looks like an abstract painting, but when you read the title the abstraction

disappears.” 3 Here again, the water is painted in dilute acrylic, while the rubber ring is carefully drawn

and painted on a layer of primer such that it seems to float on the surface of the canvas and the pool.

1 David Hockney, David Hockney by David Hockney: My Early Years, ed. Nikos Stangos and Henry Geldzahler (London: Thames and Hudson, 1976),p. 93.2 Ibid, p. 99.3 Ibid, p. 240.

18

1937David Hockney born on 9 July, in Bradford, an industrial city in West Yorkshire, England.

1952-1959After undergraduate studies at the Bradford School of Art, where he receives a traditional education based

on drawing from life, Hockney is admitted to the Royal College of Art (RCA) in London. There he not only

discovers American Abstract Expressionism but also encounters British figurative painters Francis Bacon,

Richard Hamilton, Joe Tilson, Peter Black and Richard Smith, all among the visiting artists.

1960-1961Hockney takes part in the “Young Contemporaries” exhibition at the RBA Galleries and wins the Junior

Section prize at the John Moores Liverpool Exhibition.

His discovery of his homosexuality and reading of the poet Walt Whitman (1819-1892) prompt the

production of the Love Paintings, in a return to figuration.

First visit to the United States. William S. Lieberman buys two of his prints for the Museum of Modern Art,

New York.

1964-1967Hockney moves to Los Angeles. His painting turns towards the naturalistic as he exchanges acrylic for oils

and buys a Polaroid SX-70 camera. His own photographs, together with the male nudes published by the

Athletic Model Guild, serve as studies for his paintings.

Paintings of swimming pools in which he explores the representation of water and transparency.

Designs sets and costumes for opera and theatre, notably for Alfred Jarry’s Ubu roi at the Royal Court

Theatre, London

1968-1970Begins a series of large double portraits with American Collectors (Fred and Marcia Weisman) and

Christopher Isherwood and Don Bachardy.

Travels to Europe.

Produces his first photocollages (“joiners”).

1973-1974Hockney moves to Paris. Given his first French retrospective by the Musée des Arts Décoratifs.

Release of Jack Hazan’s film A Bigger Splash which follows the painting of Portrait of an Artist.

1975-1978Hockney invited to design sets and costumes for Stravinsky’s opera The Rake’s Progress for the

Glyndebourne Festival, and then for The Magic Flute the following year.

Los Angeles becomes his principal residence. Produces the Paper Pools series, applying differently

coloured paper pulps to a substrate of freshly made paper in its mould.

Death of Hockney’s father.

1982-1984Seeking to render space more adequately, and finding inspiration in both Cubism and in Chinese

scroll-painting, Hockney creates photocollages first using Polaroid photos and then pictures taken

with a Pentax 110. Wins the Kodak Prize for the best photographic book with Camera Works.

BIOGRAPHY

19

1985-1986Creates a forty-page essay and the cover for the December issue of French Vogue.

Makes the first “Home Made Print” using three office photocopiers installed in his Los Angeles studio.

Creates drawings he then prints, sometimes incorporating photocopies of real objects.

Growing interest in technical/mechanical reproducibility; notably approaches Canon in quest of new

colours.

1988-1995Travels to Japan.

Makes the first “Home Made Print” using three office photocopiers installed in his Los Angeles studio.

Creates drawings he then prints, sometimes incorporating photocopies of real objects.

Growing interest in technical/mechanical reproducibility; notably approaches Canon in quest of new

colours. Begins to use the fax machine for his art, which requires a simplification of volumes. This return

to a quasi-abstract aesthetic will influence his painting. New Paintings series.

Buys a Mac II FX and makes his first drawings on computer.

1998-1999Hockney renders views of the Grand Canyon in panoramic paintings made up of 15 to 60 canvases.

These are shown at the exhibition “David Hockney : Espace/Paysage” at the Centre Pompidou in Paris.

2001Publishes Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, an enormous book

in which he expounds the novel thesis that artists were making use of optical instruments as early

as the 15th century.

2004-2008Hockney moves back to his native Yorkshire.

He develops a system of assembling several panels that allows him to create very large landscapes,

painted from nature in the manner of the Barbizon School or the French Impressionists, notably his

monumental Bigger Trees Near Warter or/ou Peintures sur le motif pour un nouvel âge photographique.

Hockney acquires a Wacom graphics tablet that enables greater precision and responsiveness in the

creation of lines and the application of colour. He uses this to create images combining photography,

painting and computer graphics.

2009-2010In January 2009, Hockney begins to draw on the iPhone.

On 27 January 2010, Apple’s Steve Jobs launches the iPad at the Yerba Buena Center for the Arts in San

Francisco. Hockney attends the event and buys one less than three months later. He uses the iPad as a

sketchbook whose backlit screen allows him to draw in the dark and to blow up his images up to 600

times. The other great advantage of the iPad is its record function, making it possible to save and to view

the successive stages of the work.

2011-2013Hockney films the Woldgate area in Yorkshire over a period of more than a year, using 18 cameras

mounted on a van. Creates the video installation Four Seasons.

Appointed a member of the Order of Merit by Queen Elizabeth II.

Creates his first video installation with sound, The Jugglers, in which jugglers dressed in black play

with coloured objects against blue and red backgrounds that disturb the sense of perspective and depth.

With 18 fixed cameras set in place like spectators, Hockney explores how technology reorganises

the way we see.

20

2014-2017After a decade in England, Hockney returns to Los Angeles.

Works on series of 82 life-size portraits that will be shown at the Venice Biennale.

His interest in technology is unflagging, and using the computer he creates a number works uniting

several hundred photographs.

With critic Martin Gayford, Hockney publishes A History of Pictures : From the Cave to the Computer Screen,

extending the earlier thesis on artists’ use of optical instruments to the more general influence

of techniques of reproduction on the history of art.

Hockney continues to draw assiduously, inspired by the example of Rembrandt and Picasso.

A new group of paintings marks a return to Hockney’s Santa Monica garden as subject, first painted

in the early 2000s.

Taschen publish A Bigger Book, one of their SUMO limited edition monographs,

dedicated to David Hockney.

21

Self-Portrait, 1954

Collage on newspaper, 41.9 x 29.8 cm

Bradford Museums and Galleries, Bradford

Portrait of My Father, 1955

Oil on canvas, 51 x 40,5 cm

The David Hockney Foundation

Towpath at Apperley Road,

Looking Towards Thackley, 1956

Oil on canvas, 50,8 x 68 cm


Builders, ca. 1957

Oil on hardboard, 50,5 x 76,2 cm


Hen Run, Eccleshill, ca. 1957



Love Painting, 1960

Oil on cardboard, 91 x 60 cm

Private collection, United Kingdom

Shame, 1960

Oil on cardboard, 127 x 101,5 cm

Private collection

The Third Love Painting, 1960


Tate, Londres, purchased with assistance

from the Art Fund, the Friends of the Tate Gallery,

the American Fund for the Tate Gallery

and a group of donors 1991

Tyger Painting #2, 1960

Oil on cardboard, 101,5 x 63,5 cm

Private collection

I’m in the Mood for Love, 1961

Oil on canvas, 127 x 102 cm

Royal College of Art, London

Tea Painting in an Illusionistic Style, 1961


Tate, Londres, purchased with

assistance from the Art Fund 1996

The Cha Cha Cha That Was Danced

in the Early Hours of 24th March 1961

Oil on canvas, 172,5 x 153,5 cm

Private collection

A Rakes’s Progress: A Graphic Tale

Comprising Sixteen Etchings, 1961-1963

16 etchings and aquatints on zinc in two colours,

39,4 x 57,2 cm


Cleaning Teeth, Early Evening (10PM) W11, 1962


Astrup Fearnley Collection, Oslo

Flight into Italy - Swiss Landscape, 1962


Museum Kunstpalast, Düsseldorf

Man in a Museum (or You’re in the Wrong Movie),

1962


British Council Collection

My Brother is only Seventeen, 1962

Oil and mixed media on hardboard, 151 x 75 cm

Royal College of Art, London

The First Marriage (A Marriage of Styles I), 1962


Tate, Londres, presented by

the Friends of the Tate Gallery 1963

Domestic Scene, Los Angeles, 1963


Private collection

Play Within a Play, 1963

Oil on canvas and Plexiglas, 183 x 183 cm

Private collection, c/o Connery & Associates

The Hypnotist, 1963


Private collection

Arizona, 1964

Acrylic on canvas, 153 x 153 cm

Private collection

WORKS EXHIBITED

22

California Art Collector, 1964


Giancarlo Giammetti Collection, London

Man in Shower in Beverly Hills, 1964

Acrylic on canvas, 167,5 x 167 cm

Tate, London, purchased 1980

Portrait Surrounded by Artistic Devices, 1965


Arts Council Collection, Southbank Center, London

Rocky Mountains and Tired Indians, 1965


Scottish National Gallery of Modern Art, Edinburgh

Dream inn, Santa Cruz, October, 1966

Pencil on paper, 35,5 x 43 cm


Medical Building, 1966


Ian and Mercedes Stoutzker Collection,

London, promised gift to Tate

Peter, 1966

Graphite, pencil and ink on 2 sheets of paper,

29,2 x 64,8 cm

Private collection, London,

promised gift to the British Museum,

Department of Prints and Drawings

Sunbather, 1966


Museum Ludwig, Cologne, Donation Ludwig

Illustrations for Fourteen Poems

from C.P. Cavafy, 1966

47,5 x 33,7 x 1,8 cm

Private collection, Paris

A Bigger Splash, 1967



A Lawn Being Sprinkled, 1967


Lear Family Collection

Kasmin in Bed in his Chateau in Carennac, 1967

Ink on paper, 43,2 x 35,6 cm

Paul Kasmin, New York

Peter Feeling Not Too Good, 1967

Ink on paper, 35 x 43 cm

Sabina Fliri Collection, London

Savings and Loan Building, 1967


Smithsonian American Art Museum,

Washington, Gift of Nan Tucker

McEvoy

The Room, Tarzana, 1967


Private collection

American Collectors (Fred & Marcia Weisman), 1968


The Art Institute of Chicago, Chicago,

restricted gift of Mr. and Mrs. Frederic G. Pick

Christopher Isherwood and Don Bachardy, 1968

Acrylic on canvas, 212 x 303,5 cm

Private collection

W. H. Auden II, 1968

Ink on paper, 43 x 35,5 cm

Private collection

Henry Geldzahler and Christopher Scott, 1969


Barney A. Ebsworth Collection

Peter Langan in his Kitchen at Odin’s, 1969


Private collection

Le Parc des Sources, Vichy, 1970


Devonshire Collection, Chatsworth

Mark Glazebrook, 1970


Mrs Mark Glazebrook Collection

Ossie Wearing a Fairisle Sweater, 1970

Pencil on paper, 43,2 x 35,6 cm

Private collection, London

Peter Washing, Belgrade, September 1970

From Twenty Photographic Pictures by David

Hockney, 1976

Chromogenic print, 20,3 x 26,6 cm

Collection of the artist

23

Pretty Tulips, February 1970


Hockney, 1976



Mr and Mrs Clark and Percy, 1970-1971


Tate, presented by the Friends

of The Tate Gallery 1971

Celia, Carennac, August 1971



Pool and Steps, Le Nid du Duc, 1971


Private collection

Rubber Ring Floating in a Swimming Pool, 1971


Private collection

Tennis Court, Berkeley, November 1971

26,67 x 20,3 cm



Still Life on a Glass Table, 1971-1972


On loan from Mica Ertegun, Trustee

Celia in Black Dress with White Flowers, 1972

Pencil on paper, 43 x 35,5 cm

Collection Victor Constantiner, New York

John St. Clair Swimming, April 1972


Hockney, 1976



Mt. Fuji and Flowers, 1972


The Metropolitan Museum of Art, New York,

Purchase, Mrs. Arthur Hays Sulzberger Gift 1972

Portrait of an Artist (Pool with Two Figures), 1972


Lewis Collection

The Artist’s Father, 1972



The Artist’s Mother, 1972


Tate, presented by Klaus Anschel

in memory of his wife Gerty 2004

A Near Window, Santa Monica, April 1973


Hockney, 1976



Celia in a Pink Slip, Paris, Oct. 1973



Dr Eugene Lamb, 1973

Pencil on paper, 60 x 51 cm

Private collection, London

Mo with Telephone, 1973



Andy, Paris, 1974

Graphite and colour pencil on paper

64,8 x 49,5 cm

The Hecksher Family Collection

Claude Bernard with Cigar, 1974

Pencil on paper, 43,1 x 35,5


Contre-jour in the French Style

(Against the Day dans le Style Français), 1974

Oil on canvas , 183 x 183 cm

Ludwig Museum - Museum of Contemporary Art,

Budapest

Gregory, Palatine, Roma, December, 1974


Private collection

Pink Hose, May 1974


Hockney, 1976



Yves-Marie Asleep, May 1974


Hockney, 1976



24

Chuck, Fire Island, 1975



Joe MacDonald, 1975

Colour crayons on paper, 43.2 x 34.9 cm

Private collection, Topanga

Canyon, Courtesy L.A. Louver,

Venice, California

Gregory Sitting on Base of Column, 1975



Invented Man Revealing Still Life, 1975

Oil on canvas , 92,8 x 73,3 cm

The Nelson-Atkins Museum of Art, Kansas City,

gift of Mr. and Mrs. William L. Evans Jr.

Kerby (After Hogarth) Useful Knowledge, 1975

Oil on canvas , 183 x 152,5 cm

The Museum of Modern Art, New York,

Gift of the artist, J. Kasmin,

and the Advisory Committee Fund 1977

Peter Showering, Paris, July 1975


Hockney, 1976



Roland Petit, 1975


Galerie Lelong, Paris

Ron Kitaj Outside the Academy of Fine Arts,

Vienna, 1975


Private collection

Steps Into Water, May 1975


Hockney, 1976



Kasmin Reading the Udaipur Guide, 1977

Ink on paper, 48,5 x 61 cm

Collection Mandy and Cliff Einstein

Looking at Pictures on a Screen, 1977


The Miles and Shirley Fiterman Foundation

My parents, 1977



A Large Diver, 1978

Coloured paper pulp, 182,8 x 434,3 cm

San Francisco Museum of Modern Art,

San Francisco,

T.B. Walker F oundation Fund Purchase

Billy Wilder, 1978

Ink and pencil on paper, 48,2 x 60,9 cm


Canyon Painting, 1978

Acrylic on canvas, 152,5 x 152,5 cm

Private collection

Schwimmbad Mitternacht (Paper Pool 11), 1978



Mother, Bradford, 19th February, 1978



Fall Pool with Two Flat Blues (Paper Pool 28), 1978


João Vasco Marques Pinto Collection

Divine V, 1979


Private collection

Nichols Canyon, 1980


Private collection

Outpost Drive, Hollywood, 1980


Leslee & David Rogath

William Burroughs II, 1980


Galerie Lelong, Paris

Hollywood Hills House, 1981-1982

Oil, charcoal and collage on canvas, 152,5 x 305 cm

Walker Art Center, Minneapolis,

gift of Penny and Mike Winton 1983

25

Billy + Audrey Wilder, Los Angeles, April 1982

Composite Polaroid photograph, 117 x 112 cm


Celia, Los Angeles, April 10th 1982



Don + Christopher, Los Angeles, 6th March 1982



Grand Canyon with Foot, Arizona, Oct. 1982

Photocollage, 62 x 141 cm


Gregory Swimming, Los Angeles, March 31st 1982

Composite Polaroid photograph, 70,5 x 130 cm


Kasmin, Los Angeles, 28th March 1982

Composite Polaroid photograph, 106 x 75,5 cm


My Mother, Bolton Abbey, Yorkshire, Nov. 1982



Self-Portrait, 30th Sept. 1983


National Portrait Gallery, London,

Given by David Hockney 1999

Selft-Portrait with Check Jacket, 1983

Charcoal on paper, 76 x 57 cm


Self-Portrait with Cigarette, 1983



Self-Portrait without Shirt, 1983



Self-Portrait with Tie, 1983



The Scrabble Game, Jan 1, 1983

Photocollage, 99 x 147,5 cm


Walking in the Zen Garden at the Ryoanji Temple,

Kyoto, Feb. 1983

Photocollage, 101,5 x 159 cm


Pearblossom Hwy., 11-18th April 1986, #1, 1986


The J. Paul Getty Museum,

Los Angeles, Gift of David Hockney

The Tree, November 1986

15 / 15 Edition

Paper photocopies, 8 sheets


Large Interior, Los Angeles, 1988

Oil, ink and pasted paper on canvas

183.5 x 305.4 cm

The Metropolitan Museum of Art, New York,

purchase, Natasha Gelman Gift, in honor of William

S. Lieberman 1989 (1989.279)

Water & Edge, 1989

Drawing made of 16 fax sheets, 86,4 x 142,2 cm


Pacific Coast Highway and Santa Monica, 1990


Private collection, United-States

The Other Side, 1990-1993

Oil on 2 canvases, 183 x 335 cm

Salt’s Mill, Saltaire, Bradford

The Eleventh V.N. Painting, 1992



The Twenty-Sixth V.N. Painting, 1992


David C. Bohnett Collection

The Road across The Wolds, 1997


Private collection

Colorado River, 1998


Private collection, United-States,

courtesy Richard Gray Gallery

26

9 Canvas Study of the Grand Canyon, 1998


Richard and Carolyn Dewey

Colin St. John Wilson, London, 3rd June 1999

Graphite and pencil on paper using a camera

lucida, 38,1 x 48,5 cm


Gregory Evans, Los Angeles, 18th September 1999

Graphite and gouache on paper using a camera



Laura Huston, London, 22nd June 1999




Lindy, Marchioness of Dufferin and Ava, London,

17th June 1999




Self-Portrait, Baden-Baden, 8th June 1999









Self-Portrait, London, 3rd June 1999



Self-Portrait, London, 13th June 1999



Going Up Garrowby Hill, 2000

Oil on canvas, 213,5 x 152,5 cm

Private collection, Topanga, Canyon,

Courtesy L.A. Louver, Venice,California

Red Pots in Garden, 2000

Oil on canvas, 152.5 x 193 cm

Private collection,

courtesy Guggenheim Asher Associates

Self-Portrait in Black Sweater, 2003

Watercolour on paper, 61 x 46 cm


Self-Portrait in Mirror, 2003



Self-Portrait in Underwear, 2003



Self-Portrait with Glasses, N.Y. September 2003

Ink and watercolour on paper, 31 x 23 cm


True Mirror Self-Portrait, 2003

Ink on paper, 41 x 31 cm


A Closer Winter Tunnel, February–March 2006

Oil on 6 canvases, 183 × 366 cm (overall)

Art Gallery of New South Wales, purchased with

funds provided by Geoff and Vicki Ainsworth,

the Florence and William Crosby Bequest and the

Art Gallery of New South Wales Foundation 2007

Elderflower Blossom, Kilham, July 2006


Private collection

The Road to Thwing, July 2006


Private collection

Bigger Trees near Warter or/ou Peinture sur le Motif

pour le Nouvel Âge Post-Photographique, 2007


Tate, London, presented by the artiste 2008

The Four Seasons, Woldgate Woods (Spring, 2011;

Summer, 2010; Autumn, 2010; Winter, 2010),

2010-2011

36 digital videos synchronised and presented on 36

55-inch monitors to comprise a single artwork, 4’ 21’’


27

Garden, 2015



Garden with Blue Terrace, 2015


Private collection

Garden #3, 2016



The Smoking Room, 2016

iPad drawing printed on paper, mounted on Dibond,

91 x 206 cm (overall)


The Smoking Room, 2016

iPad drawing presented on 3 screens

68,5 x 365,4 cm (overall)


The Supper, 2016

iPad drawing printed on paper, mounted on Dibond,

91 x 274 cm (overall)


The Supper, 2016

iPad drawing presented on 4 screens

68.5 x 487.2 cm (overall)


Two Pots on a Terrace, 2016



Annunciation 1,

Interior and Exterior with Flowers, 2017



Annunciation 2, after Fra Angelico, 2017



Interior with Blue Terrace and Garden, 2017



LISTE DES DOCUMENTS EXPOSÉS

Athletic Model Guild. Physique Pictorial, Los Angeles,

Autumn 1956 - 20.96 cm x 13.34 cm


Vol. 10, No.2, August 1960 - 20.96 cm x 13.34 cm


Vol. 11, No. 2, November 1961 - 20.96 cm x 13.34

cm


Vol. 11, No. 3, March 1962 - 20.96 cm x 13.34 cm


Vol. 14, No. 3, February 1965 - 20.96 cm x 13.34 cm


Vol. 15, No. 2, January 1966 - 20.96 cm x 13.34 cm


Vol. 15, No. 4, February 1968 - 20.96 cm x 13.34 cm

Vogue, Paris, No 662, december-january 1986,

31 x 24 cm.

The Sunday Times magazine, 21 February 1988,

31.5 x 25.8 cm.

Interview, December 1986, 40.5 x 27.5 cm.

Bradford’s, Telegraph & Argus, 3 March 1983,

41 x 30.5 cm.

John Rechy, City of night, Grove Press,

New York, 1963 (first edition).

28

ABOUT BANK OF AMERICA MERRILL LYNCH’S PROGRAMME OF ARTS SUPPORT

Bank of America Merrill Lynch’s support of the “David Hockney Retrospective” exhibition represents the

company’s second collaboration with the Pompidou Center in Paris. BofAML was the global sponsor of the

Roy Lichtenstein exhibition world tour, which was presented at the Pompidou Center from July 3 to

November 4, 2013. In 2017, it also lends two photographs from the Bank of America Collection for the

Walker Evans exhibition, to take place at the Pompidou Center from April 26 to August 14.

Bank of America Merrill Lynch’s programme of arts support reflects the company’s belief that the arts

matter. They help economies to thrive, individuals to connect with each other across cultures, and they

educate and enrich societies. BofAML’s focus on the arts is a key element of the company’s commitment

to responsible growth. Around the world, BofAML supports not-for-profit arts institutions that deliver both

the visual and performing arts which provide inspirational educational programms, open access for all

communities, create jobs, and act as pathways to greater cultural understanding.

In France, BofAML has provided arts support for several years to major cultural institutions. It was one of

three corporate philanthropists to support the restoration of the Winged Victory of Samothrace at the

Louvre (between 2010 and July 2014) through its global Art Conservation Project. The company also

supported the restoration of Gustave Courbet’s painting, The Artist’s Studio, at the Orsay Museum in Paris

(between 2013 and 2016).

BofAML was among the sponsors of the exhibition “Eternal Sites: From Bamiyan to Palmyra, A journey to

the heart of universal heritage» at the Grand Palais, Paris (December 14, 2016 to January 9, 2017). The

company is also the global sponsor of the Chicago Symphony Orchestra, which notably performed at the

Philharmonie de Paris on January 13, 2017. For the third time since 2012, BofAML will also be the tour

sponsor of the Alvin Ailey American Dance Theater, which will perform in Paris in June 2017 as part of the

festival les Etés de la Danse.

“Bank of America Merrill Lynch is proud to be associated with this exhibition to celebrate 80 years of the

iconic artist, David Hockney. The artist’s wish that his works be publically displayed on a large scale is

exactly in line with our approach of openness and accessibility towards art, in the United States and the

world. Our support for this exhibition bears witness to our commitment, for many years, to artistic and

cultural institutions. It expresses our belief that art holds an important place in society”.

Rena De Sisto, global arts and culture executive at Bank of America Merrill Lynch

Learn more at www.bankofamerica.com/about, and connect with the company on Twitter @BofAML

PARTNERS

29

LINKLATERS

Linklaters is pleased to announce its support for David Hockney’s retrospective exhibition.Linklaters is proud to make a commitment to work alongside the Centre Pompidou by supporting them for

David Hockney’s retrospective which will be held from 21 June to 23 October 2017.

In the exceptional context of the 40th anniversary of the Centre Pompidou, a major cultural player of

contemporary art from France and abroad, Linklaters is proud to announce its support for the great

retrospective dedicated to David Hockney’s work. Featuring work from Tate Britain in London and

the New York Metropolitan Museum of Art, the exhibition is a celebration of the artist’s 80th birthday.

David Hockney is the most famous British living artist. A popular painter, whose approach is nonetheless

based on a more intellectual process and strong classic painting references, Hockney’s work is

characterised by his colour control, his way of thinking about the landscape and his openness to nature.

He constantly challenges his work, thanks to his innovative use of new technologies, as his latest works

created on the iPad and presented at the exhibition demonstrate.

This new partnership forms part of a policy of artistic patronage and a long-term cultural engagement

initiated in 2012 by Linklaters in Paris. After Helmut Newton, Keith Haring, Niki de Saint Phalle and

Hergé’s retrospectives, this will be the fifth time that the firm is supporting a major exhibition, in Paris.

In order to strengthen its cultural and societal commitment, the firm is now getting support from the

Linklaters Foundation, which was launched in 2015. In accordance with Linklaters’ values of innovation

and excellence, the Foundation has two main purposes: to fight against various forms of exclusion and to

enhance Linklaters’ support for artistic creation, especially contemporary art and photography. In addition

to this support for institutional exhibitions, the firm’s cultural commitment is reflected by the collection of

contemporary photographs composed of more than 70 artworks which have been on display in our offices

since 2010. Our recent acquisitions include Charles Fréger’s works from the Yokainoshima series recently

on display at the Rencontres d’Arles and some photographs taken from Raymond Depardon’s La France

series.

30

GALERIE LELONG

Galerie Lelong has represented David Hockney’s work in Paris since 2001. We are delighted to contribute

to the success of this retrospective, the most important that has ever been organised. Galerie Lelong has

maintained a close working relationship with the Centre Pompidou since its creation.

In France and abroad, Galerie Lelong provides support to many cultural and artistic institutions.

For French museums, we facilitate long-term loans or donation of works by the artists and estates

we represent. We regularly publish the writings of artists and have also prepared and published the

catalogue raisonné of the work of Joan Miró.

31

VISUALS FOR THE PRESSGENERAL CONDITIONS OF REPRODUCTION IN PERIODICAL PUBLICATIONS

• these visual images of artworks may only be used to illustrate an article related to the exhibition

or to a current event directly connected with it;

• any manipulation or modification of the artwork is forbidden; any reproduction must respect the integrity

of the work;

• any reproduction will be accompanied by a copyright notice in the form: artist name, title and date

of the work, followed by ©, and this whatever may be the origin of the image or the person or institution

that holds the work;

• in the case of reproduction on the cover or front page permission must be obtained in advance from

DHI - [email protected];

• in no case may use be made of the images outside the period of the exhibition.

• images may only be used in low definition on websites.

Self Portrait, 1954Collage41,29 x 29,80 cm © David HockneyPhoto: Richard SchmidtBradford Museums and Galleries, Bradford

I’m in the Mood for Love, 1961 Oil on canvas122 x 91,4 cm © David Hockney Photo: Prudence Cuming AssociatesRoyal College of Art, London

Domestic Scene, Los Angeles, 1963 Oil on canvas 153 x 153 cm© David HockneyPrivate collection

The First Marriage (A Marriage of Styles I), 1962 Oil on canvas182,90 x 214 cm© David HockneyCollection Tate, London, presented by The Friends of the Tate Gallery 1963

32

A Bigger Splash, 1967Acrylic on canvas242,50 x 243.90 x 3 cm© David HockneyCollection Tate, London

Portrait of an Artist (Pool with Two Figures), 1972 Acrylic on canvas213,5 x 305 cm© David HockneyPhoto: Art Gallery of New South Wales / Jenni CarterLewis Collection

Le Parc des Sources, Vichy, 1970 Acrylic on canvas 214 x 305 cm© David Hockney Photo: Chatsworth House Trust Devonshire Collection, Chatsworth

Looking at Pictures on a Screen, 1977 Oil on canvas 188 x 188 cm© David HockneyThe Miles and Shirley Fiterman Foundation

Henry Geldzahler and Christopher Scott,1969 Oil on canvas 213,5 x 305 cm© David Hockney Photo: Richard SchmidtBarney A. Ebsworth Collection

Contre-jour in the French Style (Against the Day dans le Style Français), 1974Oil on canvas183 x 183 cm© David Hockney Ludwig Museum - Museum of Contemporary Art, Budapest

33

Schwimmbad Mitternacht (Paper Pool 11), 1978 Coloured paper pulp182,80 x 215,90 cm© David Hockney Photo: Richard Schmidt Collection of the artist

Nichols Canyon, 1980Acrylic on canvas 213,30 x 152,40 cm© David HockneyPhoto: Prudence Cuming Associates

Pacific Coast Highway and Santa Monica, 1990 Oil on canvas 198 x 305 cm© David HockneyPhoto: Steve Oliver Private collection, United-States

9 Canvas Study of the Grand Canyon, 1998Oil on 9 canvases100 x 166 cm© David HockneyPhoto: Richard SchmidtRichard and Carolyn Dewey

Bigger Trees near Warter or/ou Peinture sur le motif pour le Nouvel Âge Post-Photographique, 2007Oil on 50 canvases182,90 x 365,80 cm© David HockneyPhoto: Prudence Cuming AssociatesCollection Tate, London, presented by the artist 2008

Large Interior, Los Angeles, 1988Oil, ink and pasted paper on canvas183,50 x 305,40 cm© David HockneyMetropolitan Museum of Art, New York, purchase, Natasha Gelman Gift, in honor of William S. Lieberman 1989 (1989.279)

34

The Fours Seasons, Woldgate Woods, 2010-2011(Spring 2011, Summer 2010, Autumn 2010, Winter 2010)36 digital videos synchronised and presented on 36 55-inch monitors to comprise a single artwork, 4’ 21’’205,70 x 364,40 cm4’ 21’’© David HockneyCollection of the artist

Garden, 2015-2016Acrylic121,9 x 182,8 cm© David HockneyPhoto: Richard SchmidtCollection of the artist

Dream inn, Santa Cruz, October 1966Pencil and watercolour on paper35,6 x 43 cm© David HockneyPhoto: Richard SchmidtThe David Hockney Foundation

35

USEFUL INFORMATION

Centre Pompidou

75191 Paris cedex 04

telephone

00 33 (0)1 44 78 12 33

metro

Hôtel de Ville, Rambuteau

Opening

Exhibition open 11 a.m. - 9 p.m. every day

except Tuesdays

Admission

€14

Concessions €11

Valid the same day for the

Musée National d’Art Moderne and all

exhibitions

Admission free to all members of the

Centre Pompidou

(holders of the annual pass)

Tickets can be bought at

www.centrepompidou.fr and printed at

home

MUTATIONS / CRÉATIONS

IMPRIMER LE MONDE

15 MARCH- 19 JUNE 2017

ROSS LOVEGROVE12 APRIL- 3 JULY 2017press officerAnne-Marie Pereira01 44 78 40 [email protected]

WALKER EVANS26 APRIL - 14 AUGUST 2017press officerÉlodie Vincent01 44 78 48 [email protected]

STEVEN PIPPIN15 JUNE- 11 SEPTEMBER 2017press officerÉlodie Vincent01 44 78 48 [email protected]

ANARCHÉOLOGIES15 JUNE - 11 SEPTEMBER 2017press officerDorothée Mireux01 44 78 46 [email protected]

HERVÉ FISCHER15 JUNE- 11 SEPTEMBER 2017press officerTimothée Nicot01 44 78 45 79 [email protected]

AT THE MUSEUM :

BERNARD LASSUS 24 MAY- 28 AUGUST 2017press officerDorothée Mireux01 44 78 46 [email protected]

COLLECTIONS MODERNES1905-1965

L’ŒIL ÉCOUTE

NEW DOSSIER EXHIBITION SEQUENCEfrom 4 May 2017 press officerTimothée Nicot01 44 78 45 79

[email protected]

Didier Ottinger

Curator at the Musée National d’Art

Moderne

USEFUL INFORMATION AT THE SAME TIME AT THE CENTRE POMPIDOU CURATOR

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