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 extremely praised and extensively celebrated―he may be the world’s most well-liked residing 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 disguise Hockney’s construction in view 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 express. a tricky interval the exhibition’s large good fortune, marked first by way of a stroke, which left Hockney not able to talk for an extended interval, via 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 tough at paintings on his Comédie humaine, a chain of full-length pictures painted within the studio.
The conversations among Hockney and Gayford are punctuated via incredible and revealing observations on different artists―Van Gogh, Vermeer, and Picasso between them―and enlivened via smart insights into the contrasting social and actual landscapes of Yorkshire, Hockney’s birthplace, and California. 181 illustrations, 154 in colour
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Additional info for A Bigger Message: Conversations with David Hockney
Here we’ve noticed – and it takes you two or three years to notice – there’s a moment when spring is full. We call it ‘nature’s erection’. Every single plant, bud and flower seems to be standing up straight. Then gravity starts to pull the vegetation down. It was the second year I noticed that; the third, you notice even more. At the height of the summer, the trees become a mass of foliage, and the branches are pulled down by the weight. When it falls off, they’ll start going up again. This is the sort of thing you notice if you are looking carefully.
At midday, you can’t do that. MG Have you become a connoisseur of trees, then? DH Yes, the trees become friends. One road I like particularly has trees that must have been planted two hundred years ago. I’ve always liked trees, but being here you look really hard at them. You notice things. The ash trees are always the last to come out. MG The ash was Constable’s favourite tree. DH They have marvellous shapes. Constable, of course, knew the place he was in intimately. He was very well acquainted with that landscape around East Bergholt; and he did do trees better than Turner.
His mother and sister Margaret used to live here, now the latter has moved round the corner. It is substantial, brick-built, bay-windowed, and dates – at a guess – from the 1920s. Previously it had been a small hotel, and some of the rooms still have numbers above the doors, Hockney not having got round to removing them. The place exudes a sense of solid comfort; the upper landing curves round the hall with white-painted banisters in the way one sees in the sets of old Hollywood films. Fridaythorpe Valley, August 2005 Rainy Night on Bridlington Promenade, 2008 DH I love that we’re just by the sea here.
A Bigger Message: Conversations with David Hockney by Martin Gayford