The Pop Artist of Great Brittain
© David Hockney Fig. 1. David Hockney. From Getty Image, by Aurelien Meunier Fig. 2. David Hockney. (2000) Red Pots in the Garden. [oil on canvas].
Keywords: World Look Reality People Photography Depiction Tecnology Memorable Progress
TP1 - Design, grupo 2 Clara Fernandes - 119091 Diana Zagalo - 119518 Filipa Matos - 119764 Leo Castro - 121291
David Hockney views and refers to the world as something incredibly beautiful. He thinks that people don’t look very hard or with intensity, that they just “scan the ground in front of them so they can walk.” or “move around.”, not like he does.
One example of such was when on one of them he refers to photography as “not enough” because is a quick snap and “why not look longer and maybe see more?”. In multiple interviews Hockney reenforces the importance of the simple act of looking, in a way of really notice and see things that surround us and the world itself.
He really enjoys nature describing it as amazing and painting it in multiple pieces, in other hand, David finds industrial cities very ugly. In some of those depictions of nature, he painted trees and because of those, some individuals told him that his paintings made them look at trees again.
Hockney said those people took them for granted, not noticing them and thinking they are all the same, but like he affirmed “all of them are different even all their leaves are different. That is another example of how people are not used to look.
The places where David was, the people and the world itself
were is inspiration and influenced his art.
We don´t need reality to be objective. We only need to be open to it.
see the beauty and the mystery in your surroundings, let yourself feel alive
The truth of what you see is a questionable thing. There is no reason why you should believe any more in a photograph than you do in a painting. (Hockney, 2016, p. 325)
82 portraits and 1 still-life (2016)
Hockney has created traditional portrait paintings, often characterized by bold colors and a distinctive use of brushstrokes. His portraits, whether of friends, family, or other subjects, are known for their psychological depth and intimate portrayal.
He has also been known to explore double portraits, where he presents twoperspectives of the same person or scene. These compositions provide a unique visual experience, challenging traditional notions of representation.
Photography DEPICTION “ there is no reason why you should believe any more in a & photograph than you do in a painting.” (Hockney, s.d.)
“The main point is that you read it differently. It wasn’t just a photograph. It was abstracted, stylized: the ideas were based on Cubism in the way that it filters things down to an essence.” (Hockney, s.d.) Hockney had a very tough view on photography, deeming it not good enough. However, that opinion changed once he discovered the “joiners”, photographic collages using a polaroid camera.
“The camera is a medium is what I suddently realized. It’s neither an art, a technique, a craft, nor a hobby - it’s a tool. It’s an extraordinary drawing tool.” (Hockney, s.d.) “The joiners were much closer to the way we actually look at things, closer to the truth of the experience.”
Eventually Hockney returned to painting primarily. He believed photography felt limited and confining, as opposed to painting, which was more free and vivid. “You don’t see that much in photographs. Once, the photograph was seen as the ultimate picture, but it isn’t really.” (Hockney, s.d.) “But painting can’t die because photography is not enough, actually. No, it’s just a snap. But, I mean, why not look longer at something?” (Hockney, s.d.)
More recently, Hockney created a few more collages, his photographic drawings, where he uses digital photography, as opposed to the polaroid camera.
TECHNOLOGY “I'm really only interested in technology that is about pictures.” - Hockney
Renowned for his versatility across various mediums, Hockney's engagement with technology is particularly evident in his use of digital tools and platforms.
Along-side physicist Charles Falco, Hockney published an analysis known as the Hockney-Falco Thesis. The thesis proposes that Old Masters may have employed optical devices to project or trace images onto their canvases, enabling them to achieve a level of precision and detail that would have been challenging to achieve freehand.
In various interviews and statements, Hockney has highlighted the immediacy and versatility of the iPad as a creative tool. He appreciates the freedom it provides in terms of mobility.
ssergorP MEMORABILITY
Art doesn t progress. Art doesn't progress. Art doesn't progress. Art doesn't progress. Art doesn't progress. Art doesn't progress. Art doesn't progress. Art doesn't progress. Art doesn't progress. Art doesn't progress. Art doesn't progress. Art doesn't progress. Artdoesn'tprogress.
We see with MEMORY. We see with MEMORY. We see with MEMORY. We see with MEMORY. We see with MEMORY. We see with MEMORY. We see with MEMORY. We see with MEMORY. We see with MEMORY. We see with MEMORY. We see with MEMORY. We see with MEMORY. WeseewithMEMORY
“The main reason why pictures, and other things, survive is because someone loves them. There are memorable images but we don’t really know what makes them so. If we did, there’d be a lot, lot more” (Hockney, 2016, p. 40).
QQRR CCODE: Artist Book Report
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