David Hockney

from Wikipedia, the free encyclopedia

David Hockney , OM CH RA (born July 9, 1937 in Bradford ) is a British painter , printmaker , set designer and photographer . He is considered an influential artist of the 20th century with a genre focus on landscape painting and portraiture . Hockney is often referred to as a leading exponent of pop art- related art, but has an independent artistic profile. His works fetch high prices at auctions. His iconographic picture Portrait of an Artist (Pool with Two Figures) (1972) achieved a sale price of 90.3 million US dollars at an auction at Christie's on November 15, 2018. Until 2019 it was the most expensive painting by a living artist in the world to be auctioned off.

Live and act

origin

David Hockney was born in Bradford , West Yorkshire , England in 1937, the fourth of five children to accountant Kenneth Hockney and his wife Laura . The father was a hobby painter and promoted the artistic talent of the son by allowing Hockney to take private painting lessons.

education

After attending Wellington Primary School, Bradford Grammar School, Bradford College of Art (1953-1957), he enrolled in 1959 at the Royal College of Art in London . In 1958 he previously completed his "National Service" as a civilian service in the medical sector. He studied at the Royal College of Art with Ridley Scott and met RB Kitaj . While there, Hockney said he felt at home and was proud of his work. At the Royal College of Art, Hockney was seen alongside Peter Blake in the Young Contemporaries exhibition , which heralded the arrival of British Pop Art .

His early works also show expressionist and gestural elements that showed similarities to works by Francis Bacon . Occasionally, as in We Two Boys Together Clinging (1961), based on a poem by Walt Whitman , written while he was still a student at the Royal College of Art, he depicts homosexual scenes. The abstracted painting (now in the Art Council of Great Britain ) with the loving male couple, Hockney provided numbers and codes with which he identified his lovers. At the time, homosexuality was still a criminal offense in Britain. In 1961 he met John Kasmin , who recognized the talent and became his publisher and gallery owner.

When college announced that he would not be able to graduate if he did not complete a life drawing of a female model in 1962, Hockney painted Life Painting for a Diploma (1962) in protest . The picture shows homoerotic signals, he also refused to write an essay required for the final exam and commented that he should only be judged on his works of art. In recognition of his talent and growing reputation, the college changed regulations and awarded the diploma in 1962.

Teaching activities

After graduating, he visited Italy, Munich and Berlin. After the vacation he taught at Maidstone College of Art, Kent (1962), at the University of Iowa (1964), at the University of Colorado in Boulder (1965), at the University of California in Los Angeles and Berkley (1966-1967 ) and the University of Fine Arts in Hamburg (1969). In 1963 he visited Egypt on behalf of the Sunday Times (which never published the drawings) and he exhibited for the first time in a solo exhibition at Kasmin's Gallery in New York. It was sold out and Hockney gave up teaching because he found he could earn a lot more as an artist.

Artist

Early works and trips

In 1964, Hockney settled in California and painted a series of oil paintings of swimming pools in Los Angeles . These have a more realistic style and use bright acrylic colors that were quite new to painting at the time. For example Peter getting out of Nick's Pool (1966) or A Bigger Splash (1967): Hockney said about A Bigger Splash that there was a small format and that it was called Bigger because it was larger in format. It's supposed to show a scene at noon, and, according to Hockney, "it took me two weeks just to splash the water." In this phase, Hockney confidently abstracts a banal everyday world and stages it symbolically or metaphorically.

He also made prints, portraits of friends and sets for Glyndebourne , La Scala in Milan and the Metropolitan Opera in New York City for the opera, operetta and ballet genres. Hockney lived between Los Angeles, London and Paris in the late 1960s to 1970s. He also traveled a lot from 1964: Iowa, the Rocky Mountains and Beirut. From 1971, as he writes in his biography, also globally, e.g. B. to Morocco, France, Japan and Southeast Asia. In 1976 he toured Australia and the South Seas.

avant-garde

Hockney participated in the 4th documenta in Kassel in 1968 and was also represented as an exhibiting artist at documenta 6 in 1977. In 1974, Hockney was the subject of Jack Hazan's film A Bigger Splash (named after one of Hockney's swimming pool pictures from 1967) . The film deals with the end of the relationship with his partner Peter Schlesinger in 1971 and documents the creation of the painting Portrait of an Artist (Pool with Two Figures) .

In 1972, together with Uwe Johnson , Heinrich Böll , Gerhard Richter , Günther Uecker , Henry Moore , Richard Hamilton , Peter Handke and Martin Walser, he stood up for his colleague Joseph Beuys , who was given permission to teach at the Düsseldorf Art Academy by Johannes Rau , the then North Rhine-Westphalian Minister of Culture had been withdrawn.

Hockney was a co-founder of the Museum of Contemporary Art, Los Angeles in 1979 .

Photo-experimental phase

From 1976 Hockney created photographic works with the portfolio Twenty Photographic Pictures and was also successful with this art. Initially, Polaroid prints and then 35mm color prints were used in commercial processing. Hockney used Polaroid snapshots or photo lab prints of a single motif and arranged a polagraphy patchwork in the sense of panography to get a composite image. He put his pictures together from over 100 Polaroid pictures to create a photo collage . Because these photos were taken from different perspectives and at slightly different times, the result is reminiscent of Cubist paintings . One of the main goals of Hockney was to discuss the workings of human vision and questions of perception. Some of these works represent landscapes, others are portraits. Examples of this creative phase are landscapes such as Pearblossom Highway, Sun on the Pool or Place Fürstenberg, Paris, 7th, 8th, 9th August 1985 or portraits such as David Graves Pembroke Studios London Tuesday 27th April 1982 , sisters Imogen and Hermiane Cornwall-Jones , Mother I , My Mother, Bolton Abbey or Kasmin . In general, Hockney turned to realistic motifs in this phase.

Return to realistic painting

From 1984, after a break of four years, Hockney returned to painting. One can speak of a change in style, because his compositions now showed influences from Henri Matisse and Pablo Picasso . At the same time, with the new technical possibilities, he created the home made prints , pictures from the color copier, and transmitted pictures with fax machines . From 1985 onwards, Hockney began to make more and more lithographs, often in large formats. They were shown at Kasmin's Gallery in London in the summer of 1985 at an exhibition entitled Wider Perspectives Are Needed Now . Large formats, often landscape motifs, now become a basic theme for Hockney.

Hockney also combines painting and photography in a creative way: in 1982 Hockney took his series of photographs of the Grand Canyon , which he put together in a collage. But this time from one location. The result was a large photo collage of 60 individual photos of Grand Canyon looking North II, September 1982 . In 1986 he returned to the location where he was photographed and took photos there again. From 1997-1998 he then used these templates to paint the 60 individual oil paintings under the title A bigger Grand Canyon in the format 7442 × 2070 cm.

From the 1990s onwards, Hockney was increasingly in his native Yorkshire to be with his aging parents. In 1999 his mother died. His stays are also an inspiration for him to paint in Yorkshire, a landscape that he describes as varied for an English county. A new idea also arose here, that of plein air painting in the open air: the idea of ​​the artist as part of nature. This creates large, colorful images that show forests, landscapes, piles of wood or haystacks. Technically, they are created by segmenting the surfaces according to the Grand Canyon approach, but plein air and not in the studio. They are reminiscent of the landscape painter Roger de Gray.

In 2012 he designed a large picture (176 m²) for the Vienna State Opera , which was shown in the 2012/2013 season as part of the Eiserner Vorhang exhibition series conceived by the Wiener Kunstverein museum in progress .

In 2012, on the occasion of a Hockney exhibition at the Royal Academy from January 21 to April 9, 2012, there was an advertisement which said: "All works exhibited here were created by the artist personally". This hint, which Hockney confirmed in an interview with the program guide Radio Times , should be a swipe at his colleague Damien Hirst . Hockney criticized the fact that Hirst employs assistants for the production of his works of art: “That is an insult to every craftsman ... At the art college I always pointed out that you can teach crafts, but not poetry. But now they are trying to teach poetry without a craft. "

Private life

According to Hockney, he likes to swim every morning if possible. Hockney is a Dachshund lover and had two Dachshunds, Stanley and Boogie, who were his best friends for over 15 and 18 for many years and whom he also portrayed. Hockney publicly acknowledged his homosexuality and examined it in his portraiture. Occasionally he went on numerous trips with his friends. He is also known for a colorful and eccentric style of clothing. Hockney, who has been losing his hearing for decades, has been wearing hearing aids since 1979, but that doesn’t detract from his creativity. Hockney has synaesthetic associations between timbre and sound form.

As a passionate smoker, Hockney is a vehement critic of the globally introduced smoking bans. He justifies this, among other things, with the fact that this only serves the pharmaceutical industry, which can use it to distribute products like Prozac unhindered. However, he does not consider such considerations to be visionary feats. He has a California Medical Marijuana Verification Card that can be used to purchase cannabis for medicinal purposes.

Works

Portrait of an Artist (Pool with Two Figures)
David Hockney , 1972
Acrylic on canvas
213.5 x 305 cm
Private collection

Link to the picture
(please note copyrights )

BMW commissioned work for a BMW 850 CSi, BMW Art Car 1995

Complete works

Hockney's oeuvre is very complex and went through numerous work periods. He often switched between realistic and stylized portrayals. His art is also complex when it comes to the choice of objects: portraits, self-portraits, animals, landscapes, still lifes in paintings, lithographs, drawings or watercolors. In addition, analog and digital photos, iPad prints, 3D photographs and, above all, photo collages of Polaroid photos that show a very specific style of Hockney. The palette extends to stage sets, car paintwork and works of art with fax or multimedia media. This diversity of media alone reveals Hockney's enthusiasm for technology.

Hockney's oeuvre differs significantly from other representatives of Pop Art. He is much more private, deals with objects from his personal environment. In his compositions he often depicts people with whom he has a personal experience, his friends or real locations. It only reflects the process of civilization indirectly.

His portraits of two people are also noteworthy: he tries to thematize their relationship with one another or with the world. There is also a typical working style of how Hockney approaches the finished picture: As with other artists, he first creates sketches. He often also photographs motifs, as polaroid or on film , which he then “translates” into painting. Photography as a tool in the development phase is part of his methodology.

Very strong colors are typical for Hockney. In his mature work, Hockney also developed a preference for drawing “en plein air”, that is, the artist as part of the landscape.

“I'm interested in: the representation of the world. The question that concerns me is: What does the world look like? That's why I'm so fascinated by photography. "

- David Hockney (2012)

“We are now at the beginning of a new era: anyone can produce, distribute and market pictures. I am following this development with great pleasure and attention. "

- David Hockney (2012)

"Keep being driven. You don't always have to be talented, but you have to be driven. I am driven. I'm always working."

- David Hockney (2016)

For his work, Hockney was inspired or quoted by a number of artists, such as Walt Whitman, William Hogarth , Pablo Picasso , Vincent van Gogh , Claude Monet , Paul Cézanne , Claude Lorrain , Igor Stravinsky , Richard Strauss or the Brothers Grimm .

Unlike when he was a student, Hockney likes to speak or write about art. In 1985 he wrote a 41-page essay for French Vogue . He also wrote numerous books about his art. Hockney rarely gives interviews, and when they do, they are always great moments. Sometimes he explains his work and his view of art in exhibitions, prefabricated as a video installation .

Work phases

Hockney's work is characterized by periods in which he concentrated on certain recurring objects, subjects or techniques. The phases are fluid, while he introduces a phase experimentally, he is still working in the previous phase, which is why the creative periods overlap.

If you try to organize these phases, the following work divisions result:

  • Early phase (1955-1962): In this experimental phase, Hockney tested his diversity, especially during his time at the Royal College of Art.
  • Orientation phase (1962-1963): Hockney works as a teacher and has his first solo exhibitions. His paintings are predominantly oriented towards symbolism and are full of metaphors : some like The Sphinx (1963) are reminiscent of Salvatore Dalí .
  • Californication (1963-1967): In this phase one sees homoerotic or symbolic images that increasingly show motifs from California (swimming pools, palm trees, water). He received attention in the art world through A Bigger Splash (1967).
  • Portrait phase (1967-1979): In this phase numerous portraits, but also still lifes, full of symbolism are created. The portraits essentially look like a series of people as still lifes.
  • Photo-experimental phase (1970-1986): In addition to painting, photography now appears as an art expression. Mostly in the form of a photo collage of polaroid photos as panographies . There are also painted landscape motifs and, in turn, links between landscape motifs and photography, as in Pearblossom Highway (Second Version) (1986).
  • Mature phase (1984-1998): Hockney started painting again in 1984, initially portraits, cubism and symbolism in strong colors. He turns very strongly to the subject of landscape and nature. The Grand Canyon project is typical of Hockney's long-term exploration of a topic: in 1982 and 1986 he photographed the Grand Canyon on film with a camera with a 35mm lens in order to create a large-scale painting of A bigger Grand Canyon from 1997-1998 .
  • Plein Air painting (from 1991): Hockney paints intensively again from 1991. He paints Plein Air in Yorkshire, his homeland. They are mostly large, colorful and technically they are created by segmenting the surfaces according to the Grand Canyon approach, albeit plein air. There are analogies in them to works by van Gogh, whom Hockney likes to cite.

Outstanding works

The following important information is missing from this article or section:
Technology, format, museum, inventory number - no commodities
Help Wikipedia by researching and pasting it .

  • Peter getting out of Nick's Pool (1966), acrylic on canvas, format 152 × 152 cm ( Walker Art Gallery , Liverpool),
  • Sunbather (1966) ( Museum Ludwig , Cologne),
  • Beverly Hills Housewife (1966–1967), acrylic on two canvases, (private collection),
  • A Bigger Splash (1967), acrylic on canvas, format 242.5 × 243.9 cm ( Tate Gallery , London),
  • Savings and Loan Building (1967), acrylic on canvas ( Smithsonian American Art Museum , Washington DC),
  • American Collectors (Fred and Marcia Weisman) (1968), acrylic on canvas ( Art Institute of Chicago ),
  • Le Parc des Sources , Vichy (1970), acrylic on canvas, format 214 × 305 cm (private collection Marquis of Hartington, London),
  • Mr and Mrs Clark and Percy (1970–1971), acrylic on canvas ( Tate Gallery , London)
  • Portrait of an Artist (Pool with Two Figures) (1972), acrylic on canvas, 213.5 × 305 cm (private collection),
  • George Lawson and Wayne Sleep (1972–1975), acrylic on canvas ( Tate Gallery , London),
  • My Parents (1977), oil on canvas ( Tate Gallery , London),
  • Peter Schlesingen with Polaroid Camera (1977), oil on canvas (Astrup Fearnley Museum of Modern Art, Oslo),
  • Mulholland Drive: The Road to the Studio, 1980 (1980), acrylic on canvas ( Los Angeles County Museum of Art (LACMA)) ,
  • Sun on the Pool , photo collage (1982),
  • A Visit with Christopher and Don, Santa Monica Canyon (1984) ( Museum Ludwig , Cologne),
  • Pearblossom Highway 11-18th April 1986 (Second Version) (1986), photo collage, format 198 × 282 cm (taken April 11-18, 1986 ) ( J. Paul Getty Museum , Los Angeles),
  • A Bigger Grand Canyon (1998), oil on 12 × 5 = 60 canvases, format 7.442 x 2.070 cm (National Gallery of Australia, Canberra) ,
  • A Closer Grand Canyon, 1998 (1988), oil on 60 canvases ( Louisiana Museum of Modern Art , Humlebæk (DK)),
  • Garrowby Hill (1998), oil on canvas ( Museum of Fine Arts, Boston ),
  • The Massacre and the Problem of Depiction, after Picasso, 2003 (2003), watercolor (David Hockney Foundation),
  • Woldgate Woods, 6 & 9 November 2006 (2006), oil on 6 canvases,
  • Bigger Trees Near Warter or / ou Peinture en Plein Air pour l'age Post-Photographique (2007), oil on 50 canvases, format 460 × 1,220 cm ( Tate Gallery , London),
  • The Big Hawthorne (2008), oil on 9 canvases, 274.3 × 365.8 cm,
  • More Felled Trees on Woldgate (2008), oil on 2 canvases,
  • The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) (2011), oil on 32 canvases (Société des Amis du Musée National d'Art Moderne, Center George Pompidou , Paris).

reception

Rating

Hockney was declared a great artist by art critics very early on. Basically under the label of Pop Art, as the style of the time, he was celebrated as an outstanding and talented artist. Maybe also under the calculation of the increase in value within the art market of the present. For his critics, however, he is also considered easy, pleasing, simple and just beautiful at times. Critics once called Hockney “Cole Porter of painting” or even “Cliff Richard of painting”. The curator Stephan Diederich (Hockney Werkschau Museum Ludwig 2012-2013, Cologne) characterized Hockney as follows: "Superficiality through the ability to abstract, carelessness through sovereignty and megalomania through the desire to have the smallest details as well as the big picture in view."

In fact, Hockney was always avant-garde, which can be proven with the various techniques and media he used. Above all, he resisted the zeitgeist of abstract art and painted figuratively. The prices that his work fetch at auctions speak for the recognition of his work.

Awards and prizes (selection)

  • Life Drawing Prize of the Royal College of Art (1962)
  • John Moore's Painting Prize (1967)
  • American Academy of Arts and Letters (1981)
  • Honorary Doctorate, Otis College of Art and Design (1985)
  • Praemium Imperiale (1989)

Exhibitions and Archives

Hockney Exhibition at the Royal Academy of Arts in London (January 2012)

Archives

Many of his works can now be found in the old Salts Mill textile mill in Saltaire , near his home town of Bradford. Numerous works are part of the David Hockney Foundation. Hockney founded the David Hockney Foundation in both Great Britain and the United States in 2008. In 2012, Hockney transferred many of his works to the foundation and also donated a large amount of money to fund the foundation's activities. The foundation's mission is to promote appreciation and understanding of visual art and culture through the exhibition, preservation and publication of David Hockney's works. The foundation owns over 8,000 works including paintings, drawings, watercolors, fully rendered prints, stage sets, multi-camera films, and other media. It also manages 203 sketchbooks and Hockney's personal photo albums from 1961 to 1990. The foundation organizes various loans to museums and exhibitions around the world.

Permanent exhibitions

His work is in numerous public and private collections around the world, including:

Temporary exhibitions

Hockney's comments

David Hockney likes to use his fame to comment. He commented on very different topics as follows:

  • About Gerhard Richter: “I just can't see any depth. He always makes the next bar with the squeegee, that's okay, but I don't see what should be big on it. "
  • On environmental degradation: “Sometimes I get very depressed when I think about what we humans are doing to the planet. People are very destructive. No wonder that nature strikes back. "
  • About photography: “Yes, I think photography is slowly dying. It too has had its time and has long since turned back to painting, where it once came from. ”And“ Photography was nothing more than the ultimate Renaissance image. It is the mechanical formulation of the perspective theories of the Renaissance. I'm almost obsessed with this idea, this fallacy of modernity. Not photography will survive, but painting. She is the avant-garde. "
  • About smoking: “You are persecuted as a smoker. I like to smoke. Actually all the time. Smoking is good for the eyes, as Balthus said. "
  • About painting sessions: “For Lucian Freud , I sat still for 120 hours! I knew it was taking him a long time because he always liked to gossip. I never speak myself while painting. "
  • About Jeff Koons : “... a terrible painter. Terrible painter. The sculptures are different "
  • On cannabis: “Why is this stuff illegal? I suppose this is mainly due to the alcohol lobby. Alcohol destroyed and killed friends of mine, but I've never met anyone who was harmed by weed. "
  • About the world: “I love to look at the world. I've always been interested in how we see and what we see. The world is exciting, even if that cannot be said of many pictures. "
  • About God: "My sister once explained to me: God is the space around us."
  • About laughter: “A doctor friend recommended me to laugh. He says: a body that laughs cannot feel fear while it laughs. A moment of relaxation. "
  • About Californian rain: “It rains in the rainy seasons, in December, January, February. The rain is falling very straight from the sky because there is hardly any wind in California, it really rains like in the musical Singin 'in the Rain. The rain in California falls like a string, while in England it falls at a rather oblique angle. "
  • About Yorkshire: “There are mountains, bogs, fields. It is varied for an English county. "
  • About Pop: “Pop was wonderful. But I have to say that this term never really interested me. I don't care about pop. "
  • About classic French modernism: “French modernism is pop, that's where everything comes from. Lichtenstein is influenced by Fernand Léger. (...). I still feel young when I look at these pictures. You can't actually die as long as you look at these pictures. "
  • About music: “I've always liked music, but I'm not sure if my musicality is particularly pronounced. I enjoyed an ambitious musical education, I grew up with the Hallé orchestra from Manchester. "
  • About stage sets: "My number one rule in stage design is: The stage must serve the music, not the other way around."
  • About perspective: “The Grand Canyon fascinates me because there is no perspective there. The viewer has to cast a lot of looks, to take the whole thing in view. "
  • About colors: “We all see colors differently, don't we? Colors are perceived much more subjectively than shapes. What is Matisse's famous saying? Two kilos of blue are bluer than one kilo of blue. Very profound. "
  • About iPad art: “You can paint on it wonderfully. And you can play the process of creating the painting as a film. "
  • About history: “For 500 years the church was the defining supplier of images. And she was in social control. In the 19th century the church lost this control. In the 20th century, social control ran out of photos and films. Now we are at the beginning of a new era: anyone can produce, distribute and market pictures. I am following this development with great pleasure and attention. "
  • About his own talent: “I paint good portraits! I give myself here again: 7.5. I put Picasso on ten. "
  • About hedonists: “No artist can be a hedonist. I am a worker. But I admire hedonists. "

Literary work

  • 2001: Secret Knowledge. Lost techniques of the old masters rediscovered by David Hockney. Knesebeck, ISBN 3-89660-092-3 .
  • 2005: The world in my eyes. Autobiography 1973–1992. Kurt Liebig publishing house, ISBN 978-3-938715-00-0 .

literature

Documentary film

music

  • The German composer Moritz Eggert wrote the work Number Nine VII: A Bigger Splash for large orchestra (alto saxophone, jazz bass and orchestra) with direct reference to Hockney's most famous picture in 2007 . ( Audio sample )

Web links

Commons : David Hockney  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f g h Ulrich Ernst Huse et al .: David Hockney . In: Harenberg painter lexicon . Harenberg, Dortmund 2001, ISBN 3-611-00977-6 , pp. 466 .
  2. ↑ David Hockney's Portrait of an Artist (Pool with Two Figures) | Christie's. Accessed January 16, 2020 (English).
  3. ↑ a b c d e f The David Hockney Foundation: Chronology. Accessed January 16, 2020 (English).
  4. ^ A b The David Hockney Foundation: Education & Awards. Accessed January 16, 2020 (English).
  5. ↑ James Smalls: Homosexuality in Art , Parkstone International, New York, 2015 ISBN 978-1-78310-727-8 , No. 178
  6. ^ Website of the Art Council of Great Britain , accessed on November 17, 2018.
  7. ↑ a b c d e f g h i j k Paul Melia, Ulrich Luckhardt: David Hockney . Prestel, Munich 2011, ISBN 978-3-7913-3718-0 , pp. 192 ff .
  8. ^ Paul Melia, Ulrich Luckhardt: David Hockney . Prestel, Munich 2011, ISBN 978-3-7913-3718-0 , pp. 17 .
  9. ↑ a b Tobias Timm: David Hockney: "You have to speak to the people" . In: The time . April 21, 2016, ISSN  0044-2070 ( zeit.de [accessed January 19, 2020]).
  10. ↑ a b c d e f g h i j k l m n o p q r s t u v w Moritz von Uslar: David Hockney: 99 questions to David Hockney . In: The time . October 31, 2012, ISSN  0044-2070 ( zeit.de [accessed January 17, 2020]).
  11. ↑ a b The 100 of the Century - Painters. Edited by Jordan / Lenz. Rowohlt, Reinbek 1995, ISBN 978-3-499-16456-9 , pp. 70 f.
  12. ^ Paul Melia, Ulrich Luckhardt: David Hockney . Prestel, Munich 2011, ISBN 978-3-7913-3718-0 , pp. 222 .
  13. ^ David Hockney: A Bigger Grand Canyon. Retrieved January 16, 2020 .
  14. ↑ Cf. Natias Neutert: Where are we when we are in the picture? About differentials of the imagination . 1st edition. Lilienstaub & Schmidt, Berlin 2014, ISBN 978-3-945003-98-5 , pp. 44, 45.
  15. ↑ Lina Sahne: David Hockney's path to art: So much more than just talent. In: Kunstplaza. December 4, 2018, accessed on January 17, 2020 (German).
  16. ↑ Hockney vs Hirst | Monopoly. Retrieved January 17, 2020 .
  17. ^ A b Maria Hunstig: Style criticism: Joni Mitchell and David Hockney. February 20, 2019, accessed January 17, 2020 .
  18. ↑ David Hockney: I smoke because it's good for me. FAZ.net, July 14, 2007, accessed November 19, 2008 .
  19. ↑ The David Hockney Foundation: 1972. Retrieved January 19, 2020 .
  20. ↑ 99 questions to David Hockney (2012). In: David Hockney in an interview with Moritz von Uslar. 99 questions to David Hockney (2012). In: www.zeit.de. Die Zeit, October 25, 2012, accessed on January 17, 2020 .
  21. ↑ 99 questions to David Hockney (2012). In: David Hockney in an interview with Moritz von Uslar. 99 questions to David Hockney (2012). In: www.zeit.de. Die Zeit, October 25, 2012, accessed on January 17, 2020 .
  22. ↑ I'm an anarchist (2016). In: David Hockney in an interview with Tobias Timm. I am an anarchist (2016). In: www.zeit.de. Die Zeit, April 21, 2016, accessed on January 19, 2020 .
  23. ^ The David Hockney Foundation: Peter Getting Out of Nick's Pool. Retrieved January 19, 2020 .
  24. ^ The David Hockney Foundation: Beverly Hills Housewife. Retrieved January 19, 2020 .
  25. ^ The David Hockney Foundation: A Bigger Splash. Retrieved January 19, 2020 .
  26. ^ The David Hockney Foundation: Savings and Loan Building. Retrieved January 19, 2020 .
  27. ^ The David Hockney Foundation: American Collectors (Fred and Marcia Weisman). Retrieved January 19, 2020 .
  28. ^ The David Hockney Foundation: Le Parc des Sources, Vichy. Retrieved January 19, 2020 .
  29. ^ The David Hockney Foundation: Mr. and Mrs. Clark and Percy. Retrieved January 19, 2020 .
  30. ↑ The David Hockney Foundation: 1972. Retrieved January 19, 2020 .
  31. ^ The David Hockney Foundation: George Lawson and Wayne Sleep. Retrieved January 19, 2020 .
  32. ^ The David Hockney Foundation: My Parents. Retrieved January 19, 2020 .
  33. ^ The David Hockney Foundation: Peter Schlesinger with Polaroid Camera. Retrieved January 19, 2020 .
  34. ^ The David Hockney Foundation: Mulholland Drive: The Road to the Studio. Retrieved January 19, 2020 .
  35. ↑ The David Hockney Foundation: 1982. Retrieved January 19, 2020 .
  36. ↑ The David Hockney Foundation: Pearblossom Hwy., April 11-18th 1986 (Second Version). Retrieved January 19, 2020 .
  37. ^ The David Hockney Foundation: A Bigger Grand Canyon. Retrieved January 19, 2020 .
  38. ^ The David Hockney Foundation: A Closer Grand Canyon. Retrieved January 19, 2020 .
  39. ^ The David Hockney Foundation: Garrowby Hill. Retrieved January 19, 2020 .
  40. ^ The David Hockney Foundation: The Massacre and the Problems of Depiction, after Picasso. Retrieved January 19, 2020 .
  41. ↑ The David Hockney Foundation: 2006. Accessed January 19, 2020 .
  42. ^ The David Hockney Foundation: Bigger Trees near Warter or / ou Peinture sur le Motif pour le Nouvel Age Post-Photographique. Retrieved January 19, 2020 .
  43. ↑ The David Hockney Foundation: More Felled Trees on Woldgate. Retrieved January 19, 2020 .
  44. ^ The David Hockney Foundation: "The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven)". Retrieved January 19, 2020 .
  45. ^ Stephan Diederich: Hockney in Cologne: The big exhibition in the Museum Ludwig - Interview with curator Stephan Diederich / Art / Culture / / report-k.de - Cologne's internet newspaper. Report K, October 26, 2012, accessed January 19, 2020 .
  46. ^ Honorary Members: David Hockney. American Academy of Arts and Letters, accessed March 11, 2019 .
  47. ↑ David Hockney, RA in the database of the Royal Academy of Arts , accessed on May 22, 2013 (English).
  48. ^ The David Hockney Foundation: The Foundation. Accessed January 16, 2020 (English).
  49. ↑ "I cannot see any profundity in Richter" | Monopoly. Retrieved January 19, 2020 .
  50. ↑ a b c d DER SPIEGEL: Interview with David Hockney: "Photography is finished" - DER SPIEGEL - culture. Retrieved January 19, 2020 .
  51. ↑ Simon Hattenstone: David Hockney: 'Just because I'm cheeky, doesn't mean I'm not serious' . In: The Guardian . May 9, 2015, ISSN  0261-3077 ( theguardian.com [accessed January 19, 2020]).
  52. ↑ Painter sees red: Is David Hockney the grumpiest man in Britain? June 5, 2008, accessed January 19, 2020 .
  53. ↑ Interview with Martin Gayford: The world of images .
personal data
SURNAME Hockney, David
BRIEF DESCRIPTION British visual artist
DATE OF BIRTH July 9, 1937
PLACE OF BIRTH Bradford , Yorkshire