By Martin Gayford

ISBN-10: 0500292256

ISBN-13: 9780500292259

“Sumptuously illustrated, this radiant quantity encapsulates what it actually capacity to be a visible artist.” ―Booklist

David Hockney’s exuberant paintings is very praised and broadly celebrated―he is likely to be the world’s preferred dwelling painter. yet he's additionally anything else: an incisive and unique philosopher on art.

This new version encompasses a revised creation and 5 new chapters which conceal Hockney’s creation considering that 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 exhibit. a tough interval the exhibition’s large good fortune, marked first through a stroke, which left Hockney not able to talk for a protracted interval, by way of the vandalism of the artist’s Totem tree-trunk, and the tragic suicide of his assistant almost immediately thereafter. Escaping the gloom, in spring 2013 Hockney moved again to L.A. a couple of months later, Martin Gayford visited Hockney within the L.A. studio, the place the fully-recovered artist used to be tough at paintings on his Comédie humaine, a sequence of full-length images painted within the studio.

The conversations among Hockney and Gayford are punctuated via stunning and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened through sensible 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 resources for A Bigger Message: Conversations with David Hockney

Example text

Self-portrait, 1954 Sketching the hawthorn in situ, May 2007 DH Yes, making marks always appealed to me. I’m still at it. 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.

The crisis of the mid-1970s was resolved, as has happened more than once in Hockney’s life, by a change of place as well as a change in the way he worked. DH I lived in Paris for two years from 1973 to 1975. The Left Bank was still cheap. I worked in one big room, with two little bedrooms off it. I liked it because I could walk into a café and there were always people you knew, and the great thing was that if you got fed up with it you could just get up and go. 30 in the afternoon and were still there at midnight, I realized that I couldn’t work there.

DH I used the aspects of the computer that permit almost instant reproduction, digital photography in other words. That enables you to build up the rectangles and see them together, so I can see immediately what’s happening in the picture. Technology is allowing us to do all kinds of things today, but I don’t think anybody has thought that it could help painting. The computer is a very good tool, but it needs imagination to use it well. It wouldn’t have been possible to paint this picture without it.

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A Bigger Message: Conversations with David Hockney by Martin Gayford

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