By Martin Gayford

ISBN-10: 0500292256

ISBN-13: 9780500292259

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

David Hockney’s exuberant paintings is extremely praised and broadly celebrated―he is likely to be the world’s hottest residing painter. yet he's additionally whatever else: an incisive and unique philosopher on art.

This new version features a revised creation and 5 new chapters which conceal Hockney’s construction considering 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 convey. a tough interval the exhibition’s large luck, marked first by way of 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 presently 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 was once not easy at paintings on his Comédie humaine, a sequence of full-length graphics painted within the studio.

The conversations among Hockney and Gayford are punctuated via staggering 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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Additional resources for A Bigger Message: Conversations with David Hockney

Example text

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. I decided to leave one day, packed up the next. Hockney is, as this story suggests, both gregarious and solitary.

If you set up a rule about anything, another artist will come along and break it. MG There are even some pictures you could call ‘photorealist’, such as Early Morning, Sainte-Maxime. DH There are. But I didn’t want to be stuck in the position I’d got into. I went to live in Paris to break it. And when I was living there in the early 70s, I felt very dead-ended. I’d given up some paintings, abandoned them. Actually, I was just drawing at that point. There was something wrong with what I was doing – I’ve called it ‘obsessive naturalism’ – but then I didn’t know what it was.

DH It happened more gradually. Originally, I was intending to go back to LA, but I didn’t because it was getting more and more interesting in Brid. Eventually, I stayed the whole year, and I saw how beautiful the winter was. But of course then you only get six hours of daylight. In August, we have about fifteen hours. I’m incredibly daylight-conscious, and light-conscious generally. That’s why I always wear hats, to minimize dazzle and glare. Here the light might change every two minutes. You have to figure out how to deal with that.

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A Bigger Message: Conversations with David Hockney by Martin Gayford


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