Joue Avec David Hockney !

Total Page:16

File Type:pdf, Size:1020Kb

Joue Avec David Hockney ! Joue avec David Hockney ! Illustré par Inspiré par le monde qui l’entoure, David Hockney recourt à l’art pour répondre à ces questions : savons-nous vraiment à quoi ressemblent les choses ? Audacieux Hockney naît à Bradford, au Royaume-Uni, en 1937. Il se prend de passion pour l’art dès son plus jeune âge, influencé par des artistes comme Picasso et Matisse. Il fréquente d’abord la Bradford Grammar School, puis étudie au Regional College of Art, à Bradford, avant d’être admis au prestigieux Royal College of Art à Londres. En 1964, il quitte le Royaume-Uni, en quête d’un lieu nouveau et stimulant. Coloré Il atterrit finalement dans le décor ensoleillé de Los Angeles, aux États-Unis. Tout au long de sa carrière, Hockney a expérimenté différentes formes d’art, comme les portraits, les paysages, les photocollages, les décors de théâtre et les dessins sur IPad. Il a réalisé un grand nombre d’œuvres très belles et on le considère Curieux comme l’un des artistes britanniques les plus importants du vingtième siècle. Pour peindre, il te faut recourir à trois outils : Ta main Tes yeux Ton cœur Des collines vallonnées du Yorkshire au cadre clair et lumineux de Los Angeles, Compare ces deux peintures : quels sont leurs points communs ? Hockney a toujours été attiré par les différents paysages qui l’entouraient. En quoi sont-elles différentes ? Laquelle préfères-tu et pourquoi ? Avec son arrière-plan qui ressemble à une carte, Outpost Drive, Hollywood donne à voir les vastes espaces ouverts de Los Angeles. Garrowby Hill est une peinture vibrante et colorée de la campagne du Yorkshire. Quels sont tes endroits préférés ? Pourquoi ne pas les peindre ou les dessiner ? Hockney aime conduire dans le décor de Los Angeles en écoutant sa musique préférée. Souvent, il choisit la musique en fonction du paysage qui l’entoure. Trouve le chemin de la maison bleue de Hockney. Tu peux le faire tout en écoutant ta chanson préférée. Quelles couleurs emploierais-tu pour montrer ces émotions ? Cercle chromatique Couleurs Couleurs froides chaudes Joie Tristesse Colère Couleurs primaires Jalousie Excitation Nervosité La couleur joue un rôle très important dans les paysages lumineux de Hockney. Les couleurs permettent aux artistes de montrer un lieu, une émotion, une époque et bien d’autres choses encore dans leurs œuvres. Le cercle chromatique ci-dessus montre les couleurs qui vont ensemble et celles qui s’opposent. Timidité Courage Confiance Crée ton propre paysage à la manière de Hockney ! Important : n’oublie pas de mélanger les couleurs pour créer tes propres teintes, uniques ! 1. Dessine une ligne d’horizon sur la page. 5. Crée de la matière dans ton paysage. Tu peux t’aider d’une 2. Ajoute une rivière ou une route au centre de ta peinture. éponge, d’un tampon, ou même de la pointe de ton pinceau. 3. Peins des lignes pour diviser l’espace restant en zones plus petites. 4. Peins chaque zone avec tes couleurs préférées. Voilà ! Tu as maintenant réalisé ta peinture de paysage. Souviens-toi : pour être réussie, A Rake’s Progress est une série de seize gravures dans lesquelles Hockney Choisis un événement joyeux que tu as vécu, comme raconte son premier séjour à New York. des vacances ou une sortie qui t’a énormément plu. une histoire doit avoir un début, À ton tour de créer ta propre histoire en images – comme dans une bande dessinée. Construis ton récit puis dessine-le dans ces seize vignettes. un milieu et une fin ! Dessine toutes ces formes d’eau en réfléchissant aux différences de texture et de couleur. Fasciné par l’eau, Hockney s’est amusé à expérimenter différentes façons de la dessiner et de la peindre. Une vague Un étang De la pluie : ! A Bigger Splash est l’une des peintures Conseil d’artiste les plus célèbres de Hockney. si tu n’y arrives pas, dessine,le principal c’est Un verre d’eau Une éclaboussure Cueille une fleur et dessine-la ci-dessous. Dessine la même fleur en cinq traits seulement. Hockney aime faire des expériences en dessinant un objet d’une multitude de façons différentes. Maintenant, dessine la même fleur Dessine cette fleur en utilisant un stylo noir. en utilisant seulement trois couleurs. À quoi ressemblent tes dessins ? Sont-ils différents ? Lequel préfères-tu ? Hockney a créé un nombre important Hockney a créé de décors pour des opéras, son premier décor pour un opéra des pièces de théâtre et des ballets. intitulé The Rake’s Progress. Écris ta propre pièce de théâtre – réfléchis aux personnages, Voici quelques points auxquels à l’intrigue et au dénouement. Lorsque le résultat te plaît, tu peux réfléchir : dessine le décor de théâtre de tes rêves pour ta pièce. Dis-nous où ta pièce se déroule : Crée une ambiance et une Crée un style et un ton – ta pièce dans un intérieur ou en plein air ? atmosphère : ta pièce est-elle est-elle joyeuse et mouvementée, Dans un bois ou dans un château ? triste ou gaie ? Ou effrayante ? ou bien sombre et mystérieuse ? Réalise le portrait de ta famille Tout au long de sa carrière, Hockney a réalisé des portraits de ou de ton meilleur ami. ses amis et de sa famille. Il est fasciné par les gens et pense que leur visage est la partie la plus intéressante à peindre. Cette peinture a pour titre My Parents. La mère de Hockney le regarde en train de peindre, tandis que son père lit un livre. Un autoportrait est une image où l’on se représente soi-même. C’est difficile à réaliser, car il n’est pas facile de se voir Recommence, mais dans un autre style : utilise de la peinture, soi-même. Dessine ton portrait ci-dessous au crayon à papier. un crayon à papier, un stylo noir, de la craie ou colle des photos. À ton avis, quel style reflète Si tu te regardes dans un miroir pendant le mieux ta personnalité ? que tu dessines, cela peut t’aider. Crée ton propre photocollage Un conseil Dans les années 1980, Hockney a commencé à réaliser des photocollages. ose expérimenter !important : Il prenait une multitude de photos d’un même objet, puis les disposait 1. pour créer une œuvre plus grande – à la manière d’un patchwork. Trouve un sujet – ça peut être ton animal domestique, ton meilleur ami ou ton endroit préféré. 2. Prends au moins trente photos de ton sujet sous plein d’angles différents. 3. Imprime tes photos. 4. Dispose tes Pearblossom Hwy. est un photocollage qui représente une autoroute photos pour lumineuse et colorée en Californie. créer une seule grande composition. Que vois-tu dans cette image ? Pense bien à les superposer ! Si tu l’examines de plus près, y a-t-il des choses que tu n’avais pas remarquées avant ? Prends bien soin de regarder l’arrière-plan, le plan intermédiaire et le premier plan ! Hockney adore faire des expériences Dessine un cadeau spécial que tu voudrais adresser avec les nouvelles technologies. Il a donc à tes amis et à ta famille chaque jour. Cela peut être Lundi commencé à réaliser des œuvres sur son le même cadeau ou sept différents. iPad et sur son téléphone portable. Tu peux alors prendre en photo tes dessins et les envoyer par email à tous tes amis et à ta famille. Chaque jour, Hockney aime dessiner un bouquet de fleurs différent sur son téléphone portable. Mardi Mercredi Jeudi Puis, il l’envoie par mail à ses amis et à sa famille – qui reçoivent ainsi un bouquet de Vendredi Samedi Dimanche fleurs fraîches tous les jours ! Laisse vagabonder ton imagination. Dessine dans les cadres ci-dessous des œuvres qui constitueront ta propre collection d’œuvres d’art. Paysage Portrait Noir et blanc Nature morte Tableau abstrait Sculpture Page 5 : Page 20 : Outpost Drive, Hollywood My Parents 1980 1977 Peinture acrylique sur toile Peinture à l’huile sur toile 152,4 × 152,4 cm 182,9 × 182,9 cm Collection particulière Tate Page 4 : Garrowby Hill 1998 Peinture à l’huile sur toile Page 14 : Page 24 : 152,4 × 193 cm A Bigger Splash Pearblossom Hwy., 11-18th April 1986 #1 Museum of Fine Arts, 1967 1986 Boston Peinture acrylique sur toile Collage photographique 242,5 × 243,9 cm 128 × 171,8 cm Tate J. Paul Getty Museum, Los Angeles Page 26 : Shoes, 3 September 2010 (384) 2010 Dessin sur Ipad Collection de l’artiste Nos remerciements les plus chaleureux vont à David Hockney, Inc Première parution en 2017 dans le cadre d’une commande du Tate Trustees à Tate Publishing, un département de Tate Enterprises, Millbank, Londres SW1P4RG www.tate.org.uk./publishing Textes © Tate Enterprises Ltd 2017 Illustrations © Rose Blake 2017 Pour les œuvres de David Hockney : © David Hockney 2017 Crédits photographiques Pages 4 et 24 : Prudence Cuming Associates Page 20 : Richard Schmidt Les dimensions des œuvres sont données en centimètres ; la hauteur est mentionnée avant la largeur. Tous droits réservés. Toute reproduction partielle de ce livre sous quelque forme que ce soit, numérique, mécanique, ou de toute autre nature, existante ou future, notamment la photocopie, l’enregistrement, le stockage de données ou la consultation électronique, ne peut être effectuée sans l’accord écrit des éditeurs ou une autorisation de la Copyright Licensing Agency Ltd. www.cal.co.uk Conception graphique : Nous Vous Version française Traduction de l’anglais : Amarante Szidon Adaptation graphique et mise en pages : Laure Cérini Chargée d’édition : Audrey Klébaner © Éditions du Centre Pompidou, Paris, 2017 ISBN : 978-2-84426-781-8 No d’éditeur : 1636 Dépôt légal : juin 2017 Photogravure : DL Imaging, Londres Imprimé et relié par Lithographia Rosés / SYL L’Art Grafic, Espagne www.centrepompidou.fr boutique.centrepompidou.fr.
Recommended publications
  • A Bigger Splash’
    The photographic source and artistic affinities of David Hockney’s ‘A bigger splash’ by MARTIN HAMMER DAVIDOCKNEY’S H A bigger splash (Fig.32), painted fifty years down from the more visible of the two trees, coincides roughly ago this year, features naturally in the artist’s current eightieth with the far-right corner of the diving-board. birthday retrospective, reviewed on pp.413–15.1 A canonical Aesthetic detachment reflected the circumstances of the pic- work in art history, the picture owes its wide appeal to many ture’s creation. A bigger splash was completed in Berkeley, where factors: legibility and economy; the visual wit inherent in im- Hockney was teaching from April to June 1967, and not in Los plying human action although no figure is visible; its evocation Angeles. In fact, the painting was the elaboration of an idea of an idyllic sunny environment, the dream of Arcadia trans- explored in two pictures produced the previous year, The little planted from the Roman Campagna to modern California; splash and The splash (both in private collections).4 n I that sense, Hockney’s precise, well-crafted execution; reproducibility; and A bigger splash comprised a distillation of Los Angeles, realised a lingering association with the Swinging Sixties and its good with the benefit of geographical and emotional distance. The vibrations. Yet the recent recycling of Hockney’s title for that of two previous versions had been sold in Hockney’s one-man a rather dark film about a Mediterranean holiday that goes bad- show at the Landau-Alan Gallery in New York in April 1967, ly wrong, suggests not merely the continuing resonance of the organised in conjunction with his London dealer, John Kas- work, but also its availability to less upbeat interpretations.2 nI min.5 The impulse to make the larger version that spring may reinserting A bigger splash into its specific historical and cultur- therefore have had a commercial dimension, looking ahead to al moment, and by employing close reading and comparative his next show.
    [Show full text]
  • David Hockney'in
    International JOURNAL OF SOCIAL, HUMANITIES AND ADMINISTRATIVE SCIENCES Open Access Refereed E-Journal & Refereed & Indexed JOSHASjournal (ISSN:2630-6417) 2020 / Vol:6, Issue:26 / pp.547-557 Arrival Date : 09.04.2020 REIEW ARTICLE Published Date : 12.05.2020 Doi Number : http://dx.doi.org/10.31589/JOSHAS.299 Reference : Erdoğan, B. & Yayan, G.H. (2020). “David Hockney’ın “The Splash” İsimli Eseri Özelinde Sanat Eserinin Piyasa Değeri”, Journal Of Social, Humanities and Administrative Sciences, 6(26):547-557. DAVİD HOCKNEY’IN “THE SPLASH” İSİMLİ ESERİ ÖZELİNDE SANAT ESERİNİN PİYASA DEĞERİ The Market Value Of Artwork: Example Of “The Splash” By David Hockney Barış ERDOĞAN Gazi Üniversitesi, Eğitim Bilimleri Enstitüsü, Güzel Sanatlar Anabilim Dalı, Resim-İş Öğretmenliği Bilim Dalı. Ankara/Türkiye Dr.Öğr. Üyesi Gonca Hülya YAYAN Dr.Öğr.Üyesi-Gazi Üniversitesi Eğitim Fakültesi Resim-İş Öğretmenliği Bölümü, Ankara/Türkiye ÖZET Günümüzde çoğu dünya ekonomisi büyük finansal krizlerle baş etmeye çalışmaktadır. Sanat piyasasının tamamı da bu durumdan nasibini almış olsa da ünlü sanatçıların eserleri hala çok büyük rakamlarla el değiştirmektedir. Bunun son örneklerinden birisi de İngiliz sanatçı David Hockney’in The Splash isimli eseridir. Hockney’in bu tablosu, 2006 yılında 9 milyon dolara alıcı bulmuşken, 2020 Şubat ayında düzenlenen bir müzayede de 23,1 milyon sterline satılmıştır. Bu makalede İngiliz Sanatçı David Hockney’in The Splash isimli eseri özelinden yola çıkılarak, sanat piyasasındaki tabloların değerlendirme ve bunların sebepleri üzerinde durulmuştur. Araştırma kapsamında Hockney’in eserlerinin geçmişten günümüze değer artışı ile diğer çağdaş sanatçıların eserleri arasındaki fiyatlar da karşılaştırmalı olarak incelenmiştir. Ayrıca sanat piyasalarının nasıl oluştuğu, nelerden etkilendiği, günümüze kadar hangi aşamalardan geçtiği ve günümüzdeki sanat piyasalarını oluşturan dinamiklerin neler olduğu da araştırmanın konusu içerisinde ele alınmıştır.
    [Show full text]
  • In David Hockney's Early Paintings (1964-1972)
    Selective Preparation of Canvas as an 'Artistic Device' in David Hockney's Early Paintings (1964-1972). Impact of This Hybrid Priming Technique on Perception by the Viewer, with a Particular Focus on Portrait of an Artist (Pool with Two Figures) and Mt. Fuji and Flowers Hannah De Corte1 Abstract: In the mid 1960s and early 1970s, David Hockney opted for a particular application of primer in the ground layers of some of his paintings – that is, a partial or 'selective' type of preparation. By selectively preparing certain areas with one or more layers of (gesso) priming, Hockney introduced a slightly higher and white pictorial plane in selected areas whilst retaining the properties of raw canvas in others. In one of Hockney's most discussed paintings, Portrait of an Artist (Pool with Two Figures), for instance, selective preparation divided the surface and set the stage from the ground up. This paper examines the impact of this highly original and hybrid formula on perception by the viewer, focusing on how the eye registers the change in properties of the paint layer. It outlines Hockney's investigation of the primed/unprimed opposition through the use of selective preparation, and the variety of effects it allowed him to achieve in one canvas. From its anecdotal use in 1960s road trip paintings to its more pronounced use in pool paintings in which Hockney used unprimed canvas to convey the 'wetness' of water, selective preparation was a device for him to compellingly increase contrasts and tension. Far from producing mere formal effects or serving solely as citations (of stain paintings for instance), the perceived technical oddity produces meaning.
    [Show full text]
  • David Hockney
    875 N Michigan Ave, Ste 3800 Chicago, IL 60611 +1 312 642 8877 1018 Madison Ave, 2nd Fl New York, NY 10075 +1 212 472 8787 DAVID HOCKNEY Born in Bradford, England, 1937. Currently lives and works in Normandy, France. EDUCATION 1962 Royal College of Art, London, England 1957 Bradford College of Art, Bradford, England SOLO EXHIBITIONS 2021 David Hockney: The Arrival of Spring, Normandy, 2020, Royal Academy of Arts, London, England Hockney in Normandy, Richard Gray Gallery, New York, New York 2020 David Hockney: Ma Normandie, Galerie Lelong & Co., Paris, France David Hockney: Drawing from Life, The Morgan Library and Museum, New York, New York [cat.] (2021) David Hockney: Video Brings Its Time to You, You Bring Your Time to Paintings and Drawings, Annely Juda Fine Art, London, England David Hockney: Drawing from Life, National Portrait Gallery, London, England David Hockney: Works from the Tate Collection, Bucerius Kunst Forum, Hamburg, Germany 2019 David Hockney's Yosemite, Heard Museum, Phoenix, Arizona (2020) Alan Davie & David Hockney: Early Works, The Hepworth Wakefield, West Yorkshire, England (2020) David Hockney: La Grande Cour Normandy, Pace Gallery, New York, New York [cat.] Hockney and Hollywood, The Bowes Museum, Barnard Castle, England David Hockney's Yosemite, Monterey Museum of Art, Monterey, California David Hockney, Seoul Museum of Art, Seoul, South Korea David Hockney: Etchings, Pace Prints, New York, New York David Hockney: Something New in Painting (and Photography) [and even Printings]... Continued, L.A. Louver, Venice,
    [Show full text]
  • David Hockney
    DAVID HOCKNEY David Hockney (b. 1937) • Born in Bradford, went to Bradford Grammar School and Bradford College of Art. He was born with synaesthesia and sees colours in response to music. At the Royal College of Art he met R. B. Kitaj • 1961 Young Contemporaries exhibition announcing the arrival of British Pop art. His early work shows expressionist elements similar to some Francis Bacon. He exhibited alongside Peter Blake (born 1932), Patrick Caulfield and Allen Jones. He met Ossie Clarke and Andy Warhol. • He featured in Ken Russell’s Pop Goes the Weasel with Pauline Boty (pronounced ‘boat-ee’) • Hockney had his first one-man show when he was 26 in 1963, and by 1970 (or 1971) the Whitechapel Gallery in London had organized the first of several major retrospectives. • He moved to Los Angeles in 1964, London 1968-73 and then Paris 1973-75. He produced 1967 paintings A Bigger Splash and A Lawn Being Sprinkled. Los Angeles again in 1978 rented then bought the canyon house and extended it. He also bought a beach house in Malibu. He moved between New York, London and Paris before settling in California in 1982. • He was openly gay and painted many celebratory works. It 1964 he met the model 1 Peter Schlesinger and was romantically involved. In California he switched from oils to acrylic using smooth, flat and brilliant colours. • He made prints, took photographs and stage design work for Glyndebourne, La Scala and the Metropolitan Opera House in New York. • From 1968 he painted portraits of friends just under life size.
    [Show full text]
  • David Hockney: Exhibition Guide We Two Boys Together Clinging, 1961 the First Marriage (A Marriage of Styles 1), 1962 a Bigger Splash, 1967
    David Hockney: Exhibition Guide We Two Boys Together Clinging, 1961 The First Marriage (A Marriage of Styles 1), 1962 A Bigger Splash, 1967 “When you look at Hockney’s painting There’s a game being played here – the game “What one must remember you have to change your focus, section by being how one makes an image. And how “Hockney trod on David Hockney section. What is this man in a suit doing that image encompasses everything that about some of these paintings next to an Egyptian figure in the beginnings interests him – relationships, travel, culture, everyone toes with his of a subtropical landscape? It just looks the art of his contemporaries, etc. Hockney is that they were partly impossible. There are all sorts of things going is having a conversation with his peers of the paintings of California.... – on, many of them abstract, in the bottom left time – “pure” modern artists like Kenneth 1960 1968: propaganda.” hand corner, including a Gothic arch, which Noland and Bernard Cohen, whose work back in the UK we were possibly refers to the marriage. Then there is was concerned with the act of painting itself, all this blank canvas for you to project your not their own experiences. He is playfully still living in a black A Marriage of Styles own interpretations. Yet this contradictory questioning the style of others. Yet this is not image has a very simple explanation. It’s a cynical satire. Hockney is finding his own way and white film..” sighting of Hockney’s friend standing behind through his practice, his relationship with art, an Eygptian statue in a Berlin museum.
    [Show full text]
  • Fotografia I Film W Praktyce Artystycznej Oraz Propozycjach Teoretycznych Davida Hockneya
    PIOTR ZAWOJSKI FOTOGRAFIA I FILM W PRAKTYCE ARTYSTYCZNEJ ORAZ PROPOZYCJACH TEORETYCZNYCH DAVIDA HOCKNEYA Zbadaj wpierw wiedzę, potem weź się do praktyki, zrodzonej z wiedzy. Praktyka musi być zawsze zbudowana na podstawie dobrej teorii, do której perspektywa jest przewodniczką i bramą i bez niej nie zdziałasz nic dobrego w dziedzinie malarstwa1. Leonardo da Vinci Czy fotografia sprawia, że świat wydaje się nijaki? Tak uważam, gdyż fotografia różni się od człowieka. Aparat widzi świat w zgodzie z zasadami geometrii, a my – psychologii2. David Hockney Camerę uważa się powszechnie i niesłusznie za wynalazek dziewiętnastowieczny. Camera nie jest jednak wynalazkiem, jest zjawiskiem przyrodniczym. Rzutowanie optyczne może nastąpić w sposób zupełnie naturalny przez szparę w żaluzji okiennej przyciemnionego pokoju. Camera obscura oznacza dosłownie „ciemny pokój”. Nie potrzeba tu ani soczewek, ani luster, chociaż rzutowany obraz będzie ciemny lub nieostry, albo ciemny i nieostry równocześnie. Przy użyciu soczewki umocowanej w większym otworze, obraz będzie jaśniejszy i może być bardzo ostry. Wynalazek fotografii oznaczał w istocie wynalezienie chemikaliów, dzięki którym rzutowaną scenę można było zatrzymać wewnątrz camery. Ale obrazy rzutowane w camerach oglądano przez setki lat, zanim to się stało. Jeżeli zrozumiemy, dlaczego to jest takie ważne, zrozumiemy też różnicę między oglądaniem świata w trzech wymiarach i oglądaniem przedstawień świata w dwóch wymiarach3. David Hockney 1 L. da Vinci, O malarstwie, tłum. L. Staff, Kraków–Budapeszt–Syrakuzy 2019, s. 86, 88. 2 D. Hockney, M. Gayford, Historia obrazów. Od ściany jaskini do ekranu komputera, tłum. E. Hornowska, Poznań 2017, s. 25. 3 D. Hockney, Wiedza tajemna. Sekrety technik malarskich dawnych mistrzów, tłum. J. Holzman, Kraków 2006, s.
    [Show full text]
  • ONLINE LEARNING INTERMEDIATE SCOPE and SEQUENCES: 1St Edition 6Th - 8Th Grades
    ONLINE LEARNING INTERMEDIATE SCOPE AND SEQUENCES: 1st Edition 6th - 8th Grades What is FLEX Curriculum? FLEX Curriculum is designed as a rigorous, relevant, and flexible set of curriculum resources art teachers can curate for their classrooms. Teachers can utilize scope and sequences, units, and learning experiences based on their unique needs and environments. Copyright © The Art of Education University, LLC theartofeducation.edu HOW TO UNDERSTAND THESE SCOPE AND SEQUENCES TABLE OF CONTENTS The following FLEX Curriculum to create, connect, present, and K-12 scope and sequences were respond through process and 6th Grade ...................... Page 3 designed for art educators to use projects. Concepts and skills in the as inspiration and as a guide to lesson plans spiral and build upon 7th Grade ...................... Page 4 drive teaching specifically in an one another increasing complexity 8th Grade ...................... Page 5 online environment. The FLEX and depth. Curriculum contents selected at each level are based on three Grade level units are organized grade level priority National Core by an element, principle or Arts Standards (at the top of each media (first column on the left). page) represented in the content While the following scope and driving ‘Essential Questions’ sequences are written to be (second column from left). Each linear with spiraling concepts, lesson was selected also for the modifications may need to use of minimal materials. be made to meet district or student goals and needs. If all The National Core Arts Standards units are taught in sequential are the foundation of each order, students will be exposed grade level scope and sequence. to a variety of skills, standards, Priority standards selected ensure concepts, media and learning students will have opportunities experiences.
    [Show full text]
  • David Hockney'in Sanatinda Ana Başliklar Main Topics In
    Trakya Üniversitesi Sosyal Bilimler Dergisi 125 Aralık 2014 Cilt: 16 Sayı: 2 (125-136) DAVID HOCKNEY’İN SANATINDA ANA BAŞLIKLAR Baybora Temel* ÖZET Bu makalede, İngiliz sanatçı David Hockney’in, batı resim sanatının son 50 yıllık süreci içerisinde ürettiği, resimleri incelenerek, teknik, konu ve özgünlük açılarından değerlendirilmeye çalışılmıştır. Bilindiği gibi Hockney, 1960’lar Pop sanatının önemli isimlerinden birisi olarak kabul edilir. 1962’de Royal College of Art’tan üstün başarı ve altın madalya ile mezun olan sanatçı, ardından Los Angeles’a bir ziyarette bulunmuş ve sonrasında Londra ve bu şehir arasında gidip gelmeye başlamıştır. Bu yıllarda uluslararası resim piyasasında da görünür olmaya başlayan sanatçının, fark edilirliğini sağlayan ilk çalışması 1966 tarihli Beverly Hills’li Evkadını (Beverly Hills Housewife) isimli resmidir. Ona popülerliğini kazandıran ve sanat dünyasının ilgisini onun üzerine toplayan çalışması ise 1967 tarihinde yaptığı Büyük Sıçrama (A Bigger Splash) isimli resmi olmuştur. Süreç içerisinde, çeşitli akım ve tekniklerden etkilenerek ürettiği farklı üsluptaki resimleri adeta otobiyografisi niteliğindedir. Anahtar Sözcükler: Pop art, İngiliz Manzara Resmi, Büyük Sıçrama MAIN TOPICS IN DAVID HOCKNEY’S ART ABSTRACT This article explores the artistic significance of David Hockney's works produced in a time span of 50 years in terms of technique, theme and originality/authenticity. As it is widely known, Hockney is considered as one of the prominent figures in 1960's Pop Art movement. After graduating from the Royal College of Art in 1962, receiving the Gold Medal, he goes to Los Angeles and following this first visit, he continuously travels back and forth between this city and London. His Beverly Hills Housewife, dated 1966 is the first of his works which brings him visibility in the international art market.
    [Show full text]
  • A Bigger Splash – David Hockney (1967; Tate)
    Registered charity no.1048092 www.magiclanternart.org.uk A Bigger Splash – David Hockney (1967; Tate) https://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254 Registered charity no.1048092 www.magiclanternart.org.uk • What kind of place is this? A swimming pool. • Do you think this place is where we are, the UK? Why not? The palm trees make it look like it’s somewhere more exotic – and the fact that it is an outdoors pool. • Are there any people in the painting? If so, where? There must be someone in the water because we can see a splash. Are they still there? Yes – splashes do not last long so if the splash is there then the person is too. • How did they get into the pool? Probably from the diving board. • Can we hear anything? Paintings do not make noise… but that is one of the great things about looking at them. We have to imagine the sound in our heads. So, after “three,” make the noise and action of a big splash. • What is the weather like? How do we know? It must be sunny and hot. Even though we cannot see the sun we can see that the sky is clear and blue, there are palm trees and there is a shadow under the chair. And of course most people who swim outside do it on a hot day! • Hold up your pretend paintbrushes and show everyone how you think the artist painted the splash. Was it fast or slow? Messy or neat? Every artist paints in a different way.
    [Show full text]
  • David Hockney: a Bigger Splash in California Steven Miller 28/29 June, 2017
    Art Appreciation Lecture Series 2017 Site Specific: The power of place David Hockney: a bigger splash in California Steven Miller 28/29 June, 2017 Lecture summary: We shall not cease from our exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time These verses from the last of T. S. Eliot’s Four Quartets could be used to describe David Hockney’s journey as a painter of the landscape. Born in the north of England, he moved to California in his mid-twenties and made it his base for the next 50 years. The images he painted there, particularly in the 1960s and 1970s, are regarded as some of his most successful and distinctive works, ‘the extraordinary achievement’, as one critic wrote, of the ‘provincial Englishman who has created a widely accepted image of Los Angeles and has made southern Californians look with new eyes at their own environment.’ However, in recent years Hockney has become one of the most lyrical painters of his native Yorkshire landscape; a part of the world that he could not escape from quickly enough as a young artist. This lecture will focus on Hockney’s ‘splash and pool years’, where he captured the bright, modern and affluent world of Los Angeles, and explore how the works he created at this time have laid the ground for this return to his roots and the remarkable works that are making him the greatest painter of the Yorkshire landscape since Turner. Slide list: 1.
    [Show full text]
  • How One Obscure David Hockney Painting Encapsulates the Greatness of His Work
    How One Obscure David Hockney Painting Encapsulates the Greatness of His Work The hints of doubt in the artist's paradise are what make the great works last. Ben Davis, December 13, 2017 David Hockney, Rubber Ring in a Swimming Pool (1971). Image: Ben Davis. The Metropolitan Museum of Art’s big, popular David Hockney retrospective is more than worth your time. As far as I can tell, however, what it reveals is that the conventional opinion of the beloved British painter is basically the right one. His most famous works are also his best works, specifically the late -1960s, early-‘70s cycle making of Los Angeles’s artificial oasis an achieved, if slightly remote, paradise of gay desire. Since that’s not, maybe, the biggest reveal, I will focus on a single work from Hockney’s golden period to try and explain why: Rubber Ring in a Swimming Pool, from 1971. But first, a word about the later works, for contrast. Hockney is about as famous as an artist can be. He has now for decades occupied a role in the British art narrative, that of the Great Painter, that critics very desperately want to have filled. When I see his late paintings, that’s what I see. Their subject matter is the serenely mythologized stuff of Great Painting. In this show, you get a lot of landscapes and interiors—or, in some cases, a combination of the two, as in the final series here, rendering the view from the veranda of his LA home in unmixed Matissian blues and greens.
    [Show full text]