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David Hockney: A Bigger Picture

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David Hockney: A Bigger Picture’ is an anomaly – I was asked to screen it across Europe and the USA so got a lot of reaction, and also a lot of feedback from people who’d bought the DVD.

David Hockney: A Bigger Picture (PAL with Subtitles) David Hockney: A Bigger Picture (PAL with Subtitles)

David Hockney: A Bigger Picture is radiantly bright, spectacularly large in both scale and extent and ebullient to the point of jubilation. Bruno Wollheim’s 2009 film gives us an up close view of Hockney’s relentless creativity and curiosity that continues to inspire. The effusive colour experienced in California where he lived for 30 years, has it seems formed an internal palette and led to a heightened experience of the English landscape, characterised by the remarkable seasonal diversity, largely absent in California. A Bigger Splash was painted between April and June 1967 when Hockney was teaching at the University of California at Berkeley.The Marquess of Dufferin and Ava bought the finished work from John Kasmin's gallery in 1968, and sold it to the Tate in 1981. A detailed discussion of this picture, by a member of the Tate Gallery's Conservation Department, is to be found in Completing the Picture (op. Only after finishing the film did I realise that in recording Hockney’s activity over a period of time another element was to come into play. In the exhibition there will be a room devoted to these films, made using nine high-definition cameras and shown on multi-panelled screens. The image is derived in part from a photograph Hockney discovered in a book on the subject of building swimming pools.

David Hockney: A Bigger Picture by Marco Livingstone | Goodreads David Hockney: A Bigger Picture by Marco Livingstone | Goodreads

It’s a multiple image, in which there is no single perspective – because there are nine different angles of vision. A near fine book without inscriptions in a very good unclipped wrapper with shallow chipping to the head of the spine.It is all things bright and beautiful all the time, with the possible exception of solitary stumps in winter clearings. The clear light of California suggested simple techniques as the light in a London room suggested an older ‘ chiaroscuro’ technique. This new work also continues his preoccupation with how human beings see, and – a slightly different matter – how they see pictures. Portrait of an Artist (Pool with Two Figures) is a large acrylic-on-canvas pop art painting by British artist David Hockney, completed in May 1972. He had grown up in Bradford on the other side of Yorkshire, but as a teenager he had worked in the fields in the Yorkshire Wolds during school holidays.

David Hockney: A Bigger Picture - Wikipedia

The colours used were cobalt blue, ultramarine blue, raw sienna, burnt sienna, raw umber, Hookers green, Naples yellow and titanium white. In Saltaire, the picture turns childlike: here comes the chuffing train, here's the street snuggling over the bridge and those neat little back-to-back boxes.But at only 50 hours of footage and essentially describing a series of portrait sittings over 9 months, it was altogether a more easily manageable proposition. Because of the climate, they could be used all year round and were not considered a luxury, unlike in Britain where it is too cold for most of the year.

A Bigger Picture Director | MoMa UK Bruno Wollheim Interview – A Bigger Picture Director | MoMa UK

On the one hand it meant I could be quicker on my feet and more flexible, whether in responding to an invitation to come up, which was often for the next day, or in planning that day’s filming. I liked Hockney’s refreshing directness, his plain-spoken, down-to-earth nuts-and-bolts Yorkshire practicality and pragmatism. Hockney is not another Turner expressing, in high seriousness, his debt to the old master; Hockney is not another Picasso teasing Velázquez and Delacroix with not quite enough wit; here Hockney is a vulgar prankster, trivialising not only a painting that he is incapable of understanding and could never execute but in involving him in the various parodies, demeaning Picasso too. It’s a picture that allows the viewer to choose which way to look, and in which they are surrounded by an extraordinary abundance of detail. The Royal Academy exhibition of recent landscape paintings begins with a small selection of landscape paintings, from the 1950s to the 1990s, indicating the multiplicity of methods and media used by the artist throughout a long and productive career.

In what was anyway quite a convoluted story, I didn’t want the unanswered question – who is that fly on the wall? Large recent paintings such as 2010’s Untitled (Woldgate) have looked equally closely at woodland undergrowth, but on an epic scale. And for such a restless innovator, so mindful of art history in everything he makes, this is surely a necessity.

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