David Hockney: A Bigger Picture

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Featuring vivid paintings inspired by the East Yorkshire landscape, these large-scale works have been created especially for the galleries at the Royal Academy.

David Hockney: A Bigger Picture – review - The Guardian

The final hang might arguably have improved the final effect, if some 20% fewer works had been included, not only because there is a degree of repetition, but because the walls with the biggest individual works such as, The Arrival of Spring in Woldgate, East Yorkshire (2011), oil on 32 canvases, each 91.4 x 121.9 cm, are difficult to appreciate among the crowds from within the gallery space itself. Focusing on fewer works can lead to a greater understanding of the skill. His apparent addiction to making images, involves the necessity to maintain a resolution with his mortality, to live life to the full, work intelligently with a team, embrace technology and assert the importance, the supremacy of making with one's hands and mind. Two of the biggest works: The Arrival of Spring (referred to above) and Winter Timber (2009) were made using such a dramatic and saturated palette, that sunglasses might have helped the more easily affronted. Yet these are the two works that have been used to promote the exhibition. They want to enjoy the artist’s products – as one might enjoy the milk of a cow – but they can’t put up with the inconvenience, the mud and the flies.”

Soft cover. Condition: As New. 1st Edition. Book is as new, excellent. Large format. 303pp with colour illustrations. Soft cover. Condition: Fine. 1st Edition. Book is in fine condition. Excellent. Large format. 303pp with colour illustrations. Also included is 'An introduction to the exhibition for Teachers and Students' 24pp booklet.

David Hockney Bigger Picture: Books - AbeBooks David Hockney Bigger Picture: Books - AbeBooks

El Anatsui – interview: ‘My inspiration comes from things people have used – there are so many endless delights’ How they are made – this kind of mark, that variation on Van Gogh, those Fauve-bright colours or stylised cut-outs or vast, multi-panel grids – these are the constant focus, much more than the landscape itself. Every work compares with another and each has its alibi in the whole. It is one enormous study in comparative methods. The gallery full of hawthorn blossom is an exception. Look at these images in reproduction, on a tiny scale in the comfort of your own home, and they may well appear absurd, the white hawthorn bursting out in great maggoty slugs, the shadows making glove puppet bunnies. But in the gallery, and almost lifesize, they are marvellous transformations: the alien blossom rampant in its outburst, the shadows on the hot lane bristling like cacti in the desert. They are like late Philip Guston in their coining of strange new forms and sheer force of personality. On each viewing I’ve come away with something new and different from the film. At that level I remain pleased with it: there are enough layers for unexpected elements to spring to the surface. I’m certainly proud I finished it, that it has a coherence and integrity, and does justice to the subject. The dust has never quite settled, nor did David’s work which continued to evolve and surprise. The questions I ask – does the film continue to be relevant and fresh, or what is its real subject? – are the ones I’m probably the least qualified to judge.

Nicole Eisenman: What Happened

He is a natural communicator, a ready and charming talker. This is one of the reasons, in addition to the power and accessibility of his work, why he has lived from quite early in his career in the public eye. By the late 1960s he was a star, and famous far beyond the art world. He had achieved a dubious position, which he once described as “the curse of popularity”. To function as an artist, he needed time and quiet; space in which to think and draw. His solution has been to create a small community around him… more in the manner of a Renaissance or Baroque master with assistants. 17 With Marina Abramović taking over the Main Galleries at the RA, we look at some other artists who have shaped the history of performance art. Read more

Bigger Picture by David Hockney - AbeBooks Bigger Picture by David Hockney - AbeBooks

Our collection Artists Artworks Art by theme Explore Videos Podcasts Short articles In depth Art Terms Tate Research Student resources Make art Create like an artist Kids art activities Tate Draw game The brushwork is lithe, running riffs on past art from Seurat's screens of pointillist dots to Matisse's buoyant stripes. The majestic scale accords with the ancient cycle of death and rebirth. The colour appears meaningful – gold against marigold, wintry blues, ochre and magenta producing optical flares – and has not yet become a sore point. Certainly David never stands still. He also actively likes the battle with a medium and its limitations. One of my favourite phases of his art were the paper pools, a medium that was probably the most tyrannical of any of the many he’s taken on, involving the moulding of coloured paper pulp into one-off images. The iPad has been the source of an incredible volume of great images and as vivid as so many of them are, my only doubt is that the medium offers too little resistance. I expect to be proved wrong. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Guggenheim Museum, Bilbao and the Museum Ludwig, Cologne. Sponsored by BNP Paribas. Tourism Partner: Welcome to Yorkshire. Media Partner: The Times.And he cannot stop, cannot keep still. There is not just Yorkshire to get down, but the seasons as well. A wall of sweet midsummers followed by a wall of yellow harvests followed by felled logs in autumn and bare glades in winter. A nice spot of painting in the sun (it never rains) and then home to tea; it sometimes feels as complacent as it looks.

David Hockney A Bigger Picture award-winning documentary

The workshop, led by Óscar Ciencia, showed how to work with an iPad, for artistic creation and graphic entertainment.

Real Families: Stories of Change

Superficially superficial, wholly lovable, highly postmodern. This whole retrospective is on his recent distinctive work in the Yorkshire woods.