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 commonly celebrated―he might be the world’s preferred dwelling painter. yet he's additionally anything else: an incisive and unique philosopher on art.
This re-creation encompasses a revised creation and 5 new chapters which conceal Hockney’s creation considering 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 express. a tricky interval the exhibition’s large good fortune, 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 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 not easy at paintings on his Comédie humaine, a chain of full-length pictures painted within the studio.
The conversations among Hockney and Gayford are punctuated by means of fantastic and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened via intelligent 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
The whole of East Yorkshire is fairly deserted. Except for Hull, there’s no big city. Beverley is the county town; Bridlington is on the road to nowhere, meaning you’ve got to aim to come here. So I can paint here totally undisturbed. I enjoy this little bit of England very much. MG But why move now after all those years in California? DH I’d been coming to Bridlington at Christmas to see my family for the last twenty-five years. My sister Margaret has lived here for the last thirty years. Even before my mother moved here when she was ninety, she and I would always come from Bradford and spend Christmas with Margaret here.
The painting had essentially to be done in one go – meaning, once you started, you had to carry on until you had finished it. It needed a hell of a lot of planning, but we did it rather quickly. The deadline wasn’t the Summer Exhibition. The deadline was the arrival of spring, which changes things. The motif is one thing in winter, but in summer it’s one solid mass of foliage – so you can’t see inside, and it’s not as interesting to me. I loved the winter trees, and think they are fantastic. The problem about painting them is that you don’t get that much light at that time.
I discovered I loved doing it early on. But don’t all children want to grab their crayons and a bit of paper? MG They don’t all become professional artists though. DH No, but it must be a profound thing. Children usually want to draw something that’s in front of them, don’t they? ’ That suggests it’s a deep, deep desire to depict. MG It’s an interesting question why it gives human beings pleasure to make and look at pictures. There might be a biological or psychological explanation. DH Yes, perhaps, but it certainly does give pleasure.