COMMUNICATION AND PARTNERSHIP DEPARTMENT

PRESS KIT

DAVID HOCKNEY
RETROSPECTIVE
21 JUNE - 23 OCTOBER 2017

DAVID
HOCKNEY 
#EXPOHOCKNEY
 DAVID HOCKNEY
RETROSPECTIVE
21 JUNE - 23 OCTOBER 2017

10 May 2017

CONTENTS

communications
and partnerships department
75191 Paris cedex 04 1. PRESS RELEASE PAGE 3

director
Benoît Parayre
2. PLAN OF THE EXHIBITION PAGE 5
telephone
00 33 (0)1 44 78 12 87
email
3. IN CONNECTION WITH THE EXHIBITION PAGE 11
benoit.parayre@centrepompidou.fr

press officer
Anne-Marie Pereira 4. PUBLICATIONS PAGE 12
telephone
00 33 (0)1 44 78 40 69
email 4. CATALOGUE EXTRACTS PAGE 14
anne-marie.pereira@centrepompidou.fr

www.centrepompidou.fr 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

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 28 April 2017

PRESS RELEASE
DAVID HOCKNEY
communications
and partnerships department
75191 Paris cedex 04

director
Benoît Parayre
RETROSPECTIVE
telephone
00 33 (0)1 44 78 12 87 21 JUNE - 23 OCTOBER 2017
email
benoit.parayre@centrepompidou.fr GALERIE 1, LEVEL 6
press officer
Anne-Marie Pereira
téléphone In collaboration with London’s Tate Britain and the Metropolitan Museum of New York,
00 33 (0)1 44 78 40 69 the Centre Pompidou is to present the most comprehensive retrospective ever devoted to the work
email of David Hockney. The exhibition celebrates the artist’s 80th birthday, retracing his entire career
anne-marie.pereira@centrepompidou.fr
through more than 160 works (paintings, photographs, engravings, video installations, drawings
www.centrepompidou.fr and printed works), including his most iconic paintings (swimming pools, double portraits
/ and monumental landscapes) and some of his most recent creations.
A Bigger Splash, 1967

It focuses in particular on Hockney’s interest in modern technologies for the production and
Media partnership with 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.

With support from

4

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

5 – Double Portraits

Family Portraits
7 – Towards the Reinvention of Space

6 – Confronting Formalism
8 – Paper Pools

4 – California

Self-portraits and “Camera Lucida”

10 – Enveloping Landscapes
9 - “Joiners” and Polaroids

11 – From Utah to Yorkshire 3 - Demonstration of Versatility

2 – Abstraction A Rake’s
1 - Works of Youth
and the Love Paintings Progress
12 – The Four Seasons

13 – iPad Drawings

Entrance

14 – Fresh Paintings

Exit
6

AN OVERVIEW OF THE EXHIBITION

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 YOUTH

The 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 PAINTINGS

Sharing 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.
7

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 VERSATILITY

The 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 - CALIFORNIA
John 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 PORTRAITS

The 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 PORTRAITS

In 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 FORMALISM

In 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 SPACE

The 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 PRINTS

In 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 POLAROIDS

In 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 LANDSCAPES

The 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 YORKSHIRE

Returning 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 SEASONS

Applying 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 DRAWINGS

A 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 PAINTINGS

Travelling 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.
11

IN CONNECTION WITH THE EXHIBITION

DAVID HOCKNEY
A 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
12

PUBLICATIONS
CHRONOLOGIE ET CORPUS D’ŒUVRES
DAVID sous la direction de Didier Ottinger

1937-1958
HOCKNEY Bradford

1959-1960
Royal College of Art

1960-1963
Démonstration de versatilité
The Rake’s Progress

1964-1968
Californie

CATALOGUE 1968-1971
Edited by Didier Ottinger Doubles portraits
Format: 24.5 x 29 cm Portraits
320 pages
Stitched 1971-1974
300 illustrations Face au formalisme
€44.90
1975-1977
De plus grand perspectives :
CONTENTS
Regarder Picasso

Serge Lasvignes 1978-1979

Avant-propos Paper Pools

Bernard Blistène 1980-1981

Préface Perspectives inversées

Didier Ottinger 1982-1986

Quand Charlot danse avec Picasso : David Hockey Après le cubisme
à l’ère de la reproductibilité technique des images
1987-1996
Chris Stephens Quelques peintures nouvellissimes
Jeux en abîme : objectité et illusion
dans l’art de David Hockney 1996-2005
De l’Utah au Yorkshire
Marco Livingtsone
La dimension humaine Autoportraits
Camera lucida
Andrew Wilson
Manières de regarder et d’être immergé 2006-2007
dans un « plus grand tableau » De plus grands arbres

Ian Alteveer 2008-2016

Surface, volume, liquide : eau et abstraction De l’ordinateur à l’iPad
dans les dix premières années de l’œuvre
de David Hockney Index bibliographique

Jean Frémon
Liste des œuvres exposées
Une passion française
 13

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

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

9,50 euros PRIX FRANCE

ISBN 978-2-84426-780 -1

centrepompidou.fr
boutique.centrepompidou.fr

ALBUM
Edited by Caroline Edde and Marie Sarré
Format: 28 x 28 cm
60 pages
54 illustrations
€9.50 euros
14

CATALOGUE EXTRACTS
DIDIER 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
15

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. 24
4 Ibid., p. 36
5 Ibid., p. 35
6 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 FRANCE

Is 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 DIMENSION

Beyond 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 HOCKNEY

David 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

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

1952-1959
After 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.

1960-1961
Hockney 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.

1964-1967
Hockney 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

1968-1970
Begins 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”).

1973-1974
Hockney 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.

1975-1978
Hockney 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.

1982-1984
Seeking 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.
19

1985-1986
Creates 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.

1988-1995
Travels 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.

1998-1999
Hockney 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.

2001
Publishes 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.

2004-2008
Hockney 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.

2009-2010
In 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.

2011-2013
Hockney 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

2014-2017
After 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

WORKS EXHIBITED
Self-Portrait, 1954 The Cha Cha Cha That Was Danced
Collage on newspaper, 41.9 x 29.8 cm in the Early Hours of 24th March 1961
Bradford Museums and Galleries, Bradford Oil on canvas, 172,5 x 153,5 cm
Private collection
Portrait of My Father, 1955
Oil on canvas, 51 x 40,5 cm A Rakes’s Progress: A Graphic Tale
The David Hockney Foundation Comprising Sixteen Etchings, 1961-1963
16 etchings and aquatints on zinc in two colours,
Towpath at Apperley Road, 39,4 x 57,2 cm
Looking Towards Thackley, 1956 The David Hockney Foundation
Oil on canvas, 50,8 x 68 cm
The David Hockney Foundation Cleaning Teeth, Early Evening (10PM) W11, 1962
Oil on canvas, 183 x 122 cm
Builders, ca. 1957 Astrup Fearnley Collection, Oslo
Oil on hardboard, 50,5 x 76,2 cm
The David Hockney Foundation Flight into Italy - Swiss Landscape, 1962
Oil on canvas, 183 x 183 cm
Hen Run, Eccleshill, ca. 1957 Museum Kunstpalast, Düsseldorf
Oil on hardboard, 59,7 x 73,6 cm
The David Hockney Foundation Man in a Museum (or You’re in the Wrong Movie),
1962
Love Painting, 1960 Oil on canvas, 153 x 153 cm
Oil on cardboard, 91 x 60 cm British Council Collection
Private collection, United Kingdom
My Brother is only Seventeen, 1962
Shame, 1960 Oil and mixed media on hardboard, 151 x 75 cm
Oil on cardboard, 127 x 101,5 cm Royal College of Art, London
Private collection
The First Marriage (A Marriage of Styles I), 1962
The Third Love Painting, 1960 Oil on canvas, 183 x 214 cm
Oil on hardboard, 118,7 x 118,7 cm Tate, Londres, presented by
Tate, Londres, purchased with assistance the Friends of the Tate Gallery 1963
from the Art Fund, the Friends of the Tate Gallery,
the American Fund for the Tate Gallery Domestic Scene, Los Angeles, 1963
and a group of donors 1991 Oil on canvas, 153 x 153 cm
Private collection
Tyger Painting #2, 1960
Oil on cardboard, 101,5 x 63,5 cm Play Within a Play, 1963
Private collection Oil on canvas and Plexiglas, 183 x 183 cm
Private collection, c/o Connery & Associates
I’m in the Mood for Love, 1961
Oil on canvas, 127 x 102 cm The Hypnotist, 1963
Royal College of Art, London Oil on canvas, 214 x 214 cm
Private collection
Tea Painting in an Illusionistic Style, 1961
Oil on canvas, 232,5 x 83 cm Arizona, 1964
Tate, Londres, purchased with Acrylic on canvas, 153 x 153 cm
assistance from the Art Fund 1996 Private collection
22

California Art Collector, 1964 Peter Feeling Not Too Good, 1967
Acrylic on canvas, 157 x 183 cm Ink on paper, 35 x 43 cm
Giancarlo Giammetti Collection, London Sabina Fliri Collection, London

Man in Shower in Beverly Hills, 1964 Savings and Loan Building, 1967
Acrylic on canvas, 167,5 x 167 cm Acrylic on canvas, 122 x 122 cm
Tate, London, purchased 1980 Smithsonian American Art Museum,
Washington, Gift of Nan Tucker
Portrait Surrounded by Artistic Devices, 1965 McEvoy
Acrylic on canvas, 152,5 x 183 cm
Arts Council Collection, Southbank Center, London The Room, Tarzana, 1967
Acrylic on canvas, 244 x 244 cm
Rocky Mountains and Tired Indians, 1965 Private collection
Acrylic on canvas, 170 x 253 cm
Scottish National Gallery of Modern Art, Edinburgh American Collectors (Fred & Marcia Weisman), 1968
Acrylic on canvas, 214 x 305 cm
Dream inn, Santa Cruz, October, 1966 The Art Institute of Chicago, Chicago,
Pencil on paper, 35,5 x 43 cm restricted gift of Mr. and Mrs. Frederic G. Pick
The David Hockney Foundation
Christopher Isherwood and Don Bachardy, 1968
Medical Building, 1966 Acrylic on canvas, 212 x 303,5 cm
Acrylic on canvas, 183 x 122 cm Private collection
Ian and Mercedes Stoutzker Collection,
London, promised gift to Tate W. H. Auden II, 1968
Ink on paper, 43 x 35,5 cm
Peter, 1966 Private collection
Graphite, pencil and ink on 2 sheets of paper,
29,2 x 64,8 cm Henry Geldzahler and Christopher Scott, 1969
Private collection, London, Oil on canvas, 213,5 x 305 cm
promised gift to the British Museum, Barney A. Ebsworth Collection
Department of Prints and Drawings
Peter Langan in his Kitchen at Odin’s, 1969
Sunbather, 1966 Ink on paper, 43 x 35,5 cm
Acrylic on canvas, 183 x 183 cm Private collection
Museum Ludwig, Cologne, Donation Ludwig
Le Parc des Sources, Vichy, 1970
Illustrations for Fourteen Poems Acrylic on canvas, 214 x 305 cm
from C.P. Cavafy, 1966 Devonshire Collection, Chatsworth
47,5 x 33,7 x 1,8 cm
Private collection, Paris Mark Glazebrook, 1970
Ink on paper, 43,2 x 35,6 cm
A Bigger Splash, 1967 Mrs Mark Glazebrook Collection
Acrylic on canvas, 242,5 x 244 cm
Tate, London, purchased 1981 Ossie Wearing a Fairisle Sweater, 1970
Pencil on paper, 43,2 x 35,6 cm
A Lawn Being Sprinkled, 1967 Private collection, London
Acrylic on canvas, 153 x 153 cm
Lear Family Collection Peter Washing, Belgrade, September 1970
From Twenty Photographic Pictures by David
Kasmin in Bed in his Chateau in Carennac, 1967 Hockney, 1976
Ink on paper, 43,2 x 35,6 cm Chromogenic print, 20,3 x 26,6 cm
Paul Kasmin, New York Collection of the artist
23

Pretty Tulips, February 1970 The Artist’s Mother, 1972

From Twenty Photographic Pictures by David Ink on paper, 43,2 x 35,3 cm
Hockney, 1976 Tate, presented by Klaus Anschel
Chromogenic print, 26,6 x 20,3 cm in memory of his wife Gerty 2004
Collection of the artist
A Near Window, Santa Monica, April 1973
Mr and Mrs Clark and Percy, 1970-1971 From Twenty Photographic Pictures by David
Acrylic on canvas, 213,5 x 305 cm Hockney, 1976
Tate, presented by the Friends Chromogenic print, 20,3 x 26,6 cm
of The Tate Gallery 1971 Collection of the artist

Celia, Carennac, August 1971 Celia in a Pink Slip, Paris, Oct. 1973
Pencil on paper, 43,2 x 35,5 cm Pencil on paper, 64,7 x 49,5 cm
The David Hockney Foundation The David Hockney Foundation

Pool and Steps, Le Nid du Duc, 1971 Dr Eugene Lamb, 1973

Acrylic on canvas, 183 x 183 cm Pencil on paper, 60 x 51 cm
Private collection Private collection, London

Rubber Ring Floating in a Swimming Pool, 1971 Mo with Telephone, 1973

Acrylic on canvas, 91 x 122 cm Pencil on paper, 35,5 x 43,1 cm
Private collection The David Hockney Foundation

Tennis Court, Berkeley, November 1971 Andy, Paris, 1974

26,67 x 20,3 cm Graphite and colour pencil on paper
Chromogenic print, 20,3 x 26,6 cm 64,8 x 49,5 cm
Collection of the artist The Hecksher Family Collection

Still Life on a Glass Table, 1971-1972 Claude Bernard with Cigar, 1974
Acrylic on canvas, 214 x 315 cm Pencil on paper, 43,1 x 35,5
On loan from Mica Ertegun, Trustee The David Hockney Foundation

Celia in Black Dress with White Flowers, 1972 Contre-jour in the French Style
Pencil on paper, 43 x 35,5 cm (Against the Day dans le Style Français), 1974
Collection Victor Constantiner, New York Oil on canvas , 183 x 183 cm
John St. Clair Swimming, April 1972 Ludwig Museum - Museum of Contemporary Art,
From Twenty Photographic Pictures by David Budapest
Hockney, 1976
Chromogenic print, 20,3 x 26,6 cm Gregory, Palatine, Roma, December, 1974
Collection of the artist Ink on paper, 43,2 x 35,6 cm
Private collection
Mt. Fuji and Flowers, 1972
Acrylic on canvas, 153 x 122 cm Pink Hose, May 1974
The Metropolitan Museum of Art, New York, From Twenty Photographic Pictures by David
Purchase, Mrs. Arthur Hays Sulzberger Gift 1972 Hockney, 1976
Chromogenic print, 26,6 x 20,3 cm
Portrait of an Artist (Pool with Two Figures), 1972 Collection of the artist
Acrylic on canvas, 213,5 x 305 cm
Lewis Collection Yves-Marie Asleep, May 1974
From Twenty Photographic Pictures by David
The Artist’s Father, 1972 Hockney, 1976
Ink on paper, 43,2 x 35,6 cm Chromogenic print, 26,6 x 20,3 cm
The David Hockney Foundation Collection of the artist
24

Chuck, Fire Island, 1975 My parents, 1977

Ink on paper, 43,2 x 35,6 cm Oil on canvas, 183 x 183 cm
Collection of the artist Tate, London, purchased 1981

Joe MacDonald, 1975 A Large Diver, 1978

Colour crayons on paper, 43.2 x 34.9 cm Coloured paper pulp, 182,8 x 434,3 cm
Private collection, Topanga San Francisco Museum of Modern Art,
Canyon, Courtesy L.A. Louver, San Francisco,
Venice, California T.B. Walker F oundation Fund Purchase

Gregory Sitting on Base of Column, 1975 Billy Wilder, 1978

Ink on paper, 35,6 x 27,9 cm Ink and pencil on paper, 48,2 x 60,9 cm
The David Hockney Foundation The David Hockney Foundation

Invented Man Revealing Still Life, 1975 Canyon Painting, 1978

Oil on canvas , 92,8 x 73,3 cm Acrylic on canvas, 152,5 x 152,5 cm
The Nelson-Atkins Museum of Art, Kansas City, Private collection
gift of Mr. and Mrs. William L. Evans Jr.
Schwimmbad Mitternacht (Paper Pool 11), 1978
Kerby (After Hogarth) Useful Knowledge, 1975 Coloured paper pulp, 182,8 x 215,9 cm
Oil on canvas , 183 x 152,5 cm Collection of the artist
The Museum of Modern Art, New York,
Gift of the artist, J. Kasmin, Mother, Bradford, 19th February, 1978
and the Advisory Committee Fund 1977 Ink on paper, 35 x 27,5 cm
The David Hockney Foundation
Peter Showering, Paris, July 1975
From Twenty Photographic Pictures by David Fall Pool with Two Flat Blues (Paper Pool 28), 1978
Hockney, 1976 Coloured paper pulp, 182,8 x 215,9 cm
Chromogenic print, 26,6 x 20,3 cm João Vasco Marques Pinto Collection
Collection of the artist
Divine V, 1979
Roland Petit, 1975 Ink on paper, 43,2 x 35,6 cm
Ink on paper, 43,2 x 35,5 cm Private collection
Galerie Lelong, Paris
Nichols Canyon, 1980
Ron Kitaj Outside the Academy of Fine Arts, Acrylic on canvas, 213,5 x 152,5 cm
Vienna, 1975 Private collection
Ink on paper, 43 x 35,5 cm
Private collection Outpost Drive, Hollywood, 1980
Acrylic on canvas, 152,5 x 152,5 cm
Steps Into Water, May 1975 Leslee & David Rogath
From Twenty Photographic Pictures by David
Hockney, 1976 William Burroughs II, 1980
Chromogenic print, 26,6 x 20,3 cm Pencil on paper, 43,2 x 35,6 cm
Collection of the artist Galerie Lelong, Paris

Kasmin Reading the Udaipur Guide, 1977 Hollywood Hills House, 1981-1982
Ink on paper, 48,5 x 61 cm Oil, charcoal and collage on canvas, 152,5 x 305 cm
Collection Mandy and Cliff Einstein Walker Art Center, Minneapolis,
gift of Penny and Mike Winton 1983
Looking at Pictures on a Screen, 1977
Oil on canvas, 188 x 188 cm
The Miles and Shirley Fiterman Foundation
25

Billy + Audrey Wilder, Los Angeles, April 1982 Walking in the Zen Garden at the Ryoanji Temple,
Composite Polaroid photograph, 117 x 112 cm Kyoto, Feb. 1983
Collection of the artist Photocollage, 101,5 x 159 cm
Collection of the artist
Celia, Los Angeles, April 10th 1982
Composite Polaroid photograph, 46 x 76 cm Pearblossom Hwy., 11-18th April 1986, #1, 1986
Collection of the artist Photocollage, 119 x 163 cm
The J. Paul Getty Museum,
Don + Christopher, Los Angeles, 6th March 1982 Los Angeles, Gift of David Hockney
Composite Polaroid photograph, 80 x 59 cm
Collection of the artist The Tree, November 1986
15 / 15 Edition
Grand Canyon with Foot, Arizona, Oct. 1982 Paper photocopies, 8 sheets
Photocollage, 62 x 141 cm The David Hockney Foundation
Collection of the artist
Large Interior, Los Angeles, 1988
Gregory Swimming, Los Angeles, March 31st 1982 Oil, ink and pasted paper on canvas
Composite Polaroid photograph, 70,5 x 130 cm 183.5 x 305.4 cm
Collection of the artist The Metropolitan Museum of Art, New York,
purchase, Natasha Gelman Gift, in honor of William
Kasmin, Los Angeles, 28th March 1982 S. Lieberman 1989 (1989.279)
Composite Polaroid photograph, 106 x 75,5 cm
Collection of the artist Water & Edge, 1989
Drawing made of 16 fax sheets, 86,4 x 142,2 cm
My Mother, Bolton Abbey, Yorkshire, Nov. 1982 The David Hockney Foundation
Photocollage, 121 x 70 cm
Collection of the artist Pacific Coast Highway and Santa Monica, 1990
Oil on canvas, 198 x 305 cm
Self-Portrait, 30th Sept. 1983 Private collection, United-States
Pencil on paper, 76,6 x 56,9 cm
National Portrait Gallery, London, The Other Side, 1990-1993
Given by David Hockney 1999 Oil on 2 canvases, 183 x 335 cm
Selft-Portrait with Check Jacket, 1983 Salt’s Mill, Saltaire, Bradford
Charcoal on paper, 76 x 57 cm
The David Hockney Foundation The Eleventh V.N. Painting, 1992
Self-Portrait with Cigarette, 1983 Oil on canvas, 61 x 91,5 cm
Charcoal on paper, 76 x 57 cm The David Hockney Foundation
The David Hockney Foundation
The Twenty-Sixth V.N. Painting, 1992
Self-Portrait without Shirt, 1983 Oil on canvas, 61 x 91,5 cm
Pencil on paper, 76 x 57 cm David C. Bohnett Collection
The David Hockney Foundation
The Road across The Wolds, 1997
Self-Portrait with Tie, 1983 Oil on canvas, 123 x 152,5 cm
Charcoal on paper, 76 x 57 cm Private collection
The David Hockney Foundation
Colorado River, 1998
The Scrabble Game, Jan 1, 1983 Oil on 15 canvases, 207 x 184 cm
Photocollage, 99 x 147,5 cm Private collection, United-States,
Collection of the artist courtesy Richard Gray Gallery
26

9 Canvas Study of the Grand Canyon, 1998 Red Pots in Garden, 2000
Oil on 9 canvases, 100 x 166 cm Oil on canvas, 152.5 x 193 cm
Richard and Carolyn Dewey Private collection,
courtesy Guggenheim Asher Associates
Colin St. John Wilson, London, 3rd June 1999
Graphite and pencil on paper using a camera Self-Portrait in Black Sweater, 2003
lucida, 38,1 x 48,5 cm Watercolour on paper, 61 x 46 cm
The David Hockney Foundation The David Hockney Foundation

Gregory Evans, Los Angeles, 18th September 1999 Self-Portrait in Mirror, 2003
Graphite and gouache on paper using a camera Watercolour on paper, 61 x 46 cm
lucida, 56,5 x 38,1 cm The David Hockney Foundation
The David Hockney Foundation
Self-Portrait in Underwear, 2003
Laura Huston, London, 22nd June 1999 Watercolour on paper, 61 x 46 cm
Graphite and pencil on paper using a camera The David Hockney Foundation
lucida, 38,1 x 28,2 cm
The David Hockney Foundation Self-Portrait with Glasses, N.Y. September 2003
Ink and watercolour on paper, 31 x 23 cm
Lindy, Marchioness of Dufferin and Ava, London, The David Hockney Foundation
17th June 1999
Graphite and pencil on paper using a camera True Mirror Self-Portrait, 2003
lucida, 38,1 x 42,8 cm Ink on paper, 41 x 31 cm
The David Hockney Foundation The David Hockney Foundation

Self-Portrait, Baden-Baden, 8th June 1999 A Closer Winter Tunnel, February–March 2006
Pencil on paper, 28 x 38 cm Oil on 6 canvases, 183 × 366 cm (overall)
The David Hockney Foundation Art Gallery of New South Wales, purchased with
funds provided by Geoff and Vicki Ainsworth,
Self-Portrait, Baden-Baden, 9th June 1999 the Florence and William Crosby Bequest and the
Pencil on paper, 28 x 27 cm Art Gallery of New South Wales Foundation 2007
The David Hockney Foundation
Elderflower Blossom, Kilham, July 2006
Self-Portrait, Baden-Baden, 10th June 1999 Oil on 2 canvases, 122 × 183 cm (overall)
Pencil on paper, 38 x 27 cm Private collection
The David Hockney Foundation
The Road to Thwing, July 2006
Self-Portrait, London, 3rd June 1999 Oil on 6 canvases, 183 × 366 cm (overall)
Pencil on paper, 56 x 38 cm Private collection
The David Hockney Foundation
Bigger Trees near Warter or/ou Peinture sur le Motif
Self-Portrait, London, 13th June 1999 pour le Nouvel Âge Post-Photographique, 2007
Pencil on paper, 38 x 27 cm Oil on 50 canvases, 459 x 1225 cm
The David Hockney Foundation Tate, London, presented by the artiste 2008

Going Up Garrowby Hill, 2000 The Four Seasons, Woldgate Woods (Spring, 2011;
Oil on canvas, 213,5 x 152,5 cm Summer, 2010; Autumn, 2010; Winter, 2010),
Private collection, Topanga, Canyon, 2010-2011
Courtesy L.A. Louver, Venice,California 36 digital videos synchronised and presented on 36
55-inch monitors to comprise a single artwork, 4’ 21’’
Collection of the artist
27

Garden, 2015 LISTE DES DOCUMENTS EXPOSÉS

Acrylic on canvas, 122 x 183 cm
Collection of the artist Athletic Model Guild. Physique Pictorial, Los Angeles,
Autumn 1956 - 20.96 cm x 13.34 cm
Garden with Blue Terrace, 2015
Acrylic on canvas, 122 x 183 cm Athletic Model Guild. Physique Pictorial, Los Angeles,
Private collection Vol. 10, No.2, August 1960 - 20.96 cm x 13.34 cm

Garden #3, 2016 Athletic Model Guild. Physique Pictorial, Los Angeles,
Acrylic on canvas, 91,5 x 122 cm Vol. 11, No. 2, November 1961 - 20.96 cm x 13.34
Collection of the artist cm

The Smoking Room, 2016 Athletic Model Guild. Physique Pictorial, Los Angeles,
iPad drawing printed on paper, mounted on Dibond, Vol. 11, No. 3, March 1962 - 20.96 cm x 13.34 cm
91 x 206 cm (overall)
Collection of the artist Athletic Model Guild. Physique Pictorial, Los Angeles,
Vol. 14, No. 3, February 1965 - 20.96 cm x 13.34 cm
The Smoking Room, 2016
iPad drawing presented on 3 screens Athletic Model Guild. Physique Pictorial, Los Angeles,
68,5 x 365,4 cm (overall) Vol. 15, No. 2, January 1966 - 20.96 cm x 13.34 cm
Collection of the artist
Athletic Model Guild. Physique Pictorial, Los Angeles,
The Supper, 2016 Vol. 15, No. 4, February 1968 - 20.96 cm x 13.34 cm
iPad drawing printed on paper, mounted on Dibond,
91 x 274 cm (overall) Vogue, Paris, No 662, december-january 1986,
Collection of the artist 31 x 24 cm.

The Supper, 2016 The Sunday Times magazine, 21 February 1988,

iPad drawing presented on 4 screens 31.5 x 25.8 cm.
68.5 x 487.2 cm (overall)
Collection of the artist Interview, December 1986, 40.5 x 27.5 cm.

Two Pots on a Terrace, 2016 Bradford’s, Telegraph & Argus, 3 March 1983,
Acrylic on canvas, 183 x 122 cm 41 x 30.5 cm.
Collection of the artist
John Rechy, City of night, Grove Press,
Annunciation 1, New York, 1963 (first edition).
Interior and Exterior with Flowers, 2017
Acrylic on canvas, 121,9 x 243,8 cm
Collection of the artist

Annunciation 2, after Fra Angelico, 2017

Acrylic on canvas, 121,9 x 243,8 cm
Collection of the artist

Interior with Blue Terrace and Garden, 2017

Acrylic on canvas, 121,9 x 243,8 cm
Collection of the artist
28

PARTNERS
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
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 PRESS

GENERAL 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 - repro@hockneypictures.com;
• 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, 1954 I’m in the Mood for Love, 1961

Collage Oil on canvas
41,29 x 29,80 cm 122 x 91,4 cm
© David Hockney © David Hockney
Photo: Richard Schmidt Photo: Prudence Cuming Associates
Bradford Museums and Galleries, Bradford Royal College of Art, London

The First Marriage (A Marriage of Styles I), 1962 Domestic Scene, Los Angeles, 1963
Oil on canvas Oil on canvas
182,90 x 214 cm 153 x 153 cm
© David Hockney © David Hockney
Collection Tate, London, presented by Private collection
The Friends of the Tate Gallery 1963
32

A Bigger Splash, 1967 Portrait of an Artist (Pool with Two Figures), 1972
Acrylic on canvas Acrylic on canvas
242,50 x 243.90 x 3 cm 213,5 x 305 cm
© David Hockney © David Hockney
Collection Tate, London Photo: Art Gallery of New South Wales / Jenni Carter
Lewis Collection

Le Parc des Sources, Vichy, 1970 Looking at Pictures on a Screen, 1977

Acrylic on canvas Oil on canvas
214 x 305 cm 188 x 188 cm
© David Hockney © David Hockney
Photo: Chatsworth House Trust The Miles and Shirley Fiterman Foundation
Devonshire Collection, Chatsworth

Contre-jour in the French Style

Henry Geldzahler and Christopher Scott,1969
(Against the Day dans le Style Français), 1974
Oil on canvas
Oil on canvas
213,5 x 305 cm
183 x 183 cm
© David Hockney
© David Hockney
Photo: Richard Schmidt
Ludwig Museum - Museum of Contemporary Art, Budapest
Barney A. Ebsworth Collection
33

Schwimmbad Mitternacht (Paper Pool 11), 1978 Nichols Canyon, 1980

Coloured paper pulp Acrylic on canvas
182,80 x 215,90 cm 213,30 x 152,40 cm
© David Hockney © David Hockney
Photo: Richard Schmidt Photo: Prudence Cuming Associates
Collection of the artist

9 Canvas Study of the Grand Canyon, 1998

Pacific Coast Highway and Santa Monica, 1990 Oil on 9 canvases
Oil on canvas 100 x 166 cm
198 x 305 cm © David Hockney
© David Hockney Photo: Richard Schmidt
Photo: Steve Oliver Richard and Carolyn Dewey
Private collection, United-States

Bigger Trees near Warter or/ou Peinture sur le motif pour le Nouvel
Âge Post-Photographique, 2007
Oil on 50 canvases
182,90 x 365,80 cm Large Interior, Los Angeles, 1988
© David Hockney Oil, ink and pasted paper on canvas
Photo: Prudence Cuming Associates 183,50 x 305,40 cm
Collection Tate, London, presented by the artist 2008 © David Hockney
Metropolitan 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 Garden, 2015-2016

(Spring 2011, Summer 2010, Autumn 2010, Winter 2010) Acrylic
36 digital videos synchronised and presented on 36 55-inch 121,9 x 182,8 cm
monitors to comprise a single artwork, 4’ 21’’ © David Hockney
205,70 x 364,40 cm Photo: Richard Schmidt
4’ 21’’ Collection of the artist
© David Hockney
Collection of the artist

Dream inn, Santa Cruz, October 1966

Pencil and watercolour on paper
35,6 x 43 cm
© David Hockney
Photo: Richard Schmidt
The David Hockney Foundation
35

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