David Hockney (again)

18-19/05/14

Research Point

Look at artists who worked in series with the landscape such as Monet, Pissarro or Cezanne. Make notes in your learning log about the challenges they faced and how they tackled them.

Three Trees near Thixendale, Spring 2008 by David Hockney

Three Trees near Thixendale, Spring 2008
by David Hockney
(8 Canvasses put together 2×4)

Three Trees near Thixendale, Summer 2007 by David Hockney

Three Trees near Thixendale, Summer 2007
by David Hockney
(8 Canvasses put together 2×4)

 

 

 

 

 

 

 

Three Trees near Thixendale, Autumn 2008 by David Hockney

Three Trees near Thixendale, Autumn
2008
by David Hockney
(8 Canvasses put together 2×4)

Three Trees near Thixendale, Winter 2008 by David Hockney

Three Trees near Thixendale, Winter
2008
(8 Canvasses put together 2×4)
by David Hockney

 

 

 

 

 

 

 

 

I feel I have to return to David Hockney’s The Bigger Picture exhibition.  Within this collection there are numerous series of works recording the same scenes at differing timings, over seasons and years. Interestingly with the Three Trees series, it looks like Hockney revisited this scene the following year to produce the Autumn, Spring and Winter paintings after producing the Summer work in 2007.

Painting outside

Painting outside, putting canvasses together to increase overall painting size.

 

The challenges are much the same as any outdoor art work making. Hockney, allegedly dressed in layers of coats and heated gloves is not unexpected, yet his insistence in creating mammoth sized paintings outdoors in the countryside, probably is.  As mentioned in my previous post re Mr Hockney, he got round this by using several, medium-sized canvasses placed together in collections of 6, 9, 15 or so. Alignment also being a challenge, he turned, as many times before in his work, to photography to help him out.  Using digital photographs and photoshop he would “stitch” together the individual images to make one cohesive picture.

An early start and set up ready to paint.

An early start and set up ready to paint.

Many times he arrived at his chosen painting spot with canvasses, easels, camping tables accommodating boxes of paints, pots of brushes etc but also made use of iPad technology and apps as a digital sketchbook, needing only the tablet to paint on and his finger to paint with (plus, I am sure, many hours of practice with the thing!).

Interestingly, Hockney refers back to Albrecht Durer, Monet, Turner, Ruskin, Constable among others and even made his own versions of Claude Lorrain’s Sermon on the Mount in his own style.

 

 

All images are photographs of pages from the official catalogue of work “David Hockney RA: A Bigger Picture” published by the Royal Academy of Arts, London. Authors: Tim Barringer, Edith Devaney, Margaret Drabble, Martin Gayford, Marco Livingsone and Xavier F Salomon – Photographic Acknowledgements contained within. Research also from the above.

 

David Hockney 1937 –

23/04/14

Research Point

Look at and research different artists’ depictions of landscape. For example look at: Durer’s landscapes are some of the earliest recordings of the northern Renaissance world created. Claude Lorrain’s designed landscapes using classical proportions, the British artist Lowry’s images of industrial life. Make notes in your learning log.

David Hockney is a multi faceted artist of our time, however, as we are looking at landscapes in this part of the course, I couldn’t omit the “The Bigger Picture”. All images are photographs of pages from the official catalogue of work “David Hockney RA: A Bigger Picture” published by the Royal Academy of Arts, London. Authors: Tim Barringer, Edith Devaney, Margaret Drabble, Martin Gayford, Marco Livingsone and Xavier F Salomon – Photographic Acknowledgements contained within.

David Hockney WIP

David Hockney – work in progress on one of his massive works the for “The Bigger Picture” exhibition of 2012 RA, London

The Bigger Picture exhibition held at the Royal Academy, London in 2012 was so enjoyable and inspiring. A massive body of work that was a culmination of several years drawing and painting outdoors – even some of the larger paintings were made outside over several smaller canvasses put together as the above image shows.

The series showing the same views at different times of year or days of the week were interesting and representative of seasons and nature changing all the time.  Media ranged from oil to watercolour to prints of digital drawings made on his iPad. Hockney’s sketch books and method of working were fascinating to pour over. Spoilt for choice here are a few photographs of work that particularly caught my eye.

Garrowby Hill by David Hockney

Garrowby Hill by David Hockney 1998 Oil on Canvas

The Road to York through Siedmore by David Hockney

The Road to York through Siedmore by David Hockney 1997 Oil on Canvas

 

 

 

 

 

 

 

 

Cut Trees - Timber by David Hockney

Cut Trees – Timber by David Hockney 2008, Charcoal on Paper 26×40″

Trees and Totems by David Hockney, sketchbook

Trees and Totems by David Hockney, sketchbook

 

 

 

 

 

 

 

 

 

The colour ranges and slightly skewed perspectives are breathtaking and charcoal drawings are detailed and full of many different mark making techniques – there is much to learn from this artist!