David Hockney retrospective at the Pompidou Centre, Paris by Jason Whittaker

COMMUNICATION AND PARTNERSHIP DEPARTMENT PRESS KIT

DAVID HOCKNEY RETROSPECTIVE 21 JUNE - 23 OCTOBER 2017

DAVID HOCKNEY #EXPOHOCKNEY

DAVID HOCKNEY RETROSPECTIVE 21 JUNE - 23 OCTOBER 2017

10 May 2017

CONTENTS communications and partnerships department 75191 Paris cedex 04 director Benoît Parayre telephone 00 33 (0)1 44 78 12 87 email benoit.parayre@centrepompidou.fr press officer Anne-Marie Pereira telephone 00 33 (0)1 44 78 40 69 email anne-marie.pereira@centrepompidou.fr www.centrepompidou.fr

1. PRESS RELEASE PAGE 3

2. PLAN OF THE EXHIBITION

PAGE 5

3. IN CONNECTION WITH THE EXHIBITION

PAGE 11

4. PUBLICATIONS PAGE 12

4. CATALOGUE EXTRACTS PAGE 14

5. BIOGRAPHY PAGE 18

6. LIST OF WORKS

PAGE 21

7. PARTNERS PAGE 28

8. VISUALS FOR THE PRESS

PAGE 31

9. USEFUL INFORMATION PAGE 35

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28 April 2017

communications and partnerships department 75191 Paris cedex 04 director Benoît Parayre telephone 00 33 (0)1 44 78 12 87 email benoit.parayre@centrepompidou.fr press officer Anne-Marie Pereira téléphone 00 33 (0)1 44 78 40 69 email anne-marie.pereira@centrepompidou.fr www.centrepompidou.fr

PRESS RELEASE DAVID HOCKNEY RETROSPECTIVE

21 JUNE - 23 OCTOBER 2017 GALERIE 1, LEVEL 6 In collaboration with London’s Tate Britain and the Metropolitan Museum of New York, the Centre Pompidou is to present the most comprehensive retrospective ever devoted to the work of David Hockney. The exhibition celebrates the artist’s 80th birthday, retracing his entire career through more than 160 works (paintings, photographs, engravings, video installations, drawings and printed works), including his most iconic paintings (swimming pools, double portraits and monumental landscapes) and some of his most recent creations.

A Bigger Splash, 1967

It focuses in particular on Hockney’s interest in modern technologies for the production and Media partnership with

reproduction of visual images. Moved by a constant concern to ensure a wide circulation for his work, he has successively taken up the camera, the fax machine, the computer, the printer, and most recently the iPad. For him, artistic creation is an act of sharing. Edited by Didier Ottinger, curator of the exhibition, a 320-page catalogue with 300 illustrations will be published by the Centre Pompidou. This will include essays by Didier Ottinger, Chris Stephens, Marco Livingstone, Andrew Wilson, Ian Alteveer and Jean Frémon, and also an extensive chronology.

With support from

The exhibition opens with paintings of Hockney’s youth, produced while at art college in his native Bradford. Images of an industrial England, they testify to the influence of the gritty social realism of his teachers, members of the so-called Kitchen Sink School. At the Bradford School of Art and the Royal College of Art in London, Hockney discovered and assimilated the English take on Abstract Expressionism represented by Alan Davie. In Jean Dubuffet he found a style (informed by graffiti, naïve art...) that corresponded to his quest for an expressive and accessible art, and in Francis Bacon the boldness to explicitly thematise the subject of homosexuality. His discovery of Picasso, finally, convinced him that an artist should not limit himself to a single style: he called one of his early exhibitions “Demonstrations of Versatility”. In 1964, he discovered the West Coast of the United States, where he became the painter of a sunny and hedonistic California, his Bigger Splash (1967) acquiring an iconic status. It was there, too, that he embarked on the large double portraits that celebrate the realism and perspectival vision of the photography he also assiduously engaged in. In the United States, where he now lived, Hockney was confronted by the critical ascendancy of abstract formalism (Minimal Art, Colour Field Painting…). To the Minimalist grid, he responded by painting building facades and geometrically mowed lawns, and to “stain colour field painting” (which used dilute paint to stain the canvas itself) with a series of works on paper depicting the water of a swimming pool under different lights. In his costumes and stage designs for opera Hockney took his distance from a photographic realism whose possibilities he now felt he had exhausted. Abandoning the classical perspective associated with the camera (“the perspective of a paralysed Cyclops”, he once said), he experimented with different ways of constructing space. Looking again at Cubism, which sought to synthetically represent the vision of a viewer who moved in relation to the subject, Hockney used a Polaroid camera to produce what he called “joiners”, representations of the subject through multiple images joined together. Systematising this “polyfocal” vision, he created Pearblossom Highway from more than a hundred photos taken from different points of view. Searching for new principles for the pictorial representation of space, Hockney found inspiration in the Chinese scroll paintings that render the visual perceptions of a viewer in movement. Combined with the multiple viewpoints of Cubist space, this allowed him to produce Nichols Canyon, a representation of his car journey from the city of Los Angeles to his studio in the hills. In 1997, Hockney returned to Northern England and the countryside of his childhood. His landscapes reflect his complex reconsideration of the question of space in painting. Using high-definition cameras, he also brought movement to the Cubist space of his Polaroid “joiners”, juxtaposing video screens to compose a cycle of four seasons – a subject that since the Renaissance has evoked the inexorable passage of time. In the 1980s, Hockney began to explore the new, digital graphics tools available for the computer, producing new kinds of images. The computer was followed by the smartphone, and then the iPad, which he has used to create ever more sophisticated drawings, circulated among his friends by means of the Web.

PLAN OF THE EXHIBITION

5 – Double Portraits

8 – Paper Pools

7 – Towards the Reinvention of Space

Family Portraits

6 – Confronting Formalism

4 – California

Self-portraits and “Camera Lucida”

10 – Enveloping Landscapes 9 - “Joiners” and Polaroids

11 – From Utah to Yorkshire

3 - Demonstration of Versatility

1 - Works of Youth 12 – The Four Seasons

13 – iPad Drawings Entrance

14 – Fresh Paintings

Exit

2 – Abstraction and the Love Paintings

A Rake’s Progress

AN OVERVIEW OF THE EXHIBITION INTRODUCTION What else can you do? Picasso worked every day. Matisse worked every day. That’s what artists do, until they drop dead. Ever since the 1950s, David Hockney has been producing joyful, inventive and exploratory work. Embracing the legacy of the founders of modern painting, he took from Matisse the use of intense and expressive colour and the goal of making each painting a celebration of the joy of life, from Picasso his stylistic freedom and his invention of a way of seeing – Cubism – capable of taking account of the movement, the passage of time, inherent in perception. Hockney has constantly shown that the cultivated eye and practised hand are still the best tools for achieving an ample and plenteous representation of the world. To the supposed obsolescence of painting in the age of technology, he has countered images drawing on photography, the fax machine, the photocopier, the moving image, the graphics tablet… The sixty years of artistic activity covered by the retrospective show that the paintings of a hedonistic and superficial California for which he is famous have acted to obscure the complexity of a body of work that today can only be seen as a learned and complex inquiry into the nature and status of images and the phenomenological laws that govern their conception and perception.

ROOMS ROOM 1 - WORKS OF YOUTH The posters against “compulsory running” that the teenage Hockney posted on the noticeboards at Bradford Grammar School foretell an art concerned to engage as much as to charm or amuse the viewer. “People would say, ‘I like your posters’ for whatever reason, and that was nice.” On joining the Bradford School of Art in 1953, Hockney’s took English painters for his first models, finding inspiration in the realism Walter Sickert and adopting the dandyish eccentricity of Stanley Spencer. His earliest works are marked by the gritty realism championed by Derek Stafford, the most significant of the Bradford teachers, a member of the Kitchen Sink School, English expression of the social realism concerned to depict the everyday conditions of the working class and the poor. ROOM 2 - ABSTRACTION AND THE LOVE PAINTINGS Sharing the pacifist convictions of his father, Hockney made posters for CND (Campaign for Nuclear Disarmament) demonstrations, and did his national service as a conscientious objector. On entering London’s Royal College of Art in 1959 he encountered the painting of Alan Davie, the first English painter to take on board the lessons of the American Abstract Expressionists, whom he discovered for himself in 1958 (“Jackson Pollock”, Whitechapel Gallery) and 1959 (“The New American Painting”, Tate Gallery). His passion for “public address” led him to his “Propaganda Paintings”, which – in still abstract idiom – championed first vegetarianism, and then, more seriously, homosexuality. Parodying the analytic rigour of the abstractionist avant-garde, he embarked on a duly numbered series of “Love Paintings”, combining the influences of Jean Dubuffet, from whom he borrowed his graffiti-inspired draughtsmanship, and Francis Bacon, from whom he took the use of raw canvas. CABINET D’ART GRAPHIQUE 1 - A RAKE’S PROGRESS Made in the early 1960s, the 16 prints of the series A Rake’s Progress echo the series of the same title created by William Hogarth between 1733 and 1735, whose eight paintings and corresponding engravings, inspired by trace the rise and fall of a young man whose desire for luxurious living and the pleasures of the flesh lead to a descent into moral depravity, debt and madness.

For Hockney, who first visited in July/August 1960, New York was the corrupting metropolis that London had been for Tom Rakewell, the anti-hero of Hogarth’s fable. In his account, we see the artist whose sale of work to the city’s Metropolitan Museum of Art affords him access to the pleasures of the “Big Apple”. One of the etchings reflects his physical transformation when, in response to a subway ad declaring that “Blondes have more fun”, he bleached his hair. ROOM 3 - DEMONSTRATION OF VERSATILITY The Picasso retrospective at the Tate Gallery, London, in the summer of 1960 had a lasting impact on Hockney at a time when he was still seeking to determine what form his art should take. “He [Picasso] was capable of every style. The lesson I draw is that we should make use of them all”. Hockney had come to feel that the different schools of painting and other expressions of the contemporary mainstream could be for him no more than elements of a formal vocabulary in the service of subjective expression. To profess the stylistic eclecticism that he thus took as his programme, he grouped the four paintings he showed at the “Young Contemporaries” exhibition of 1961 under the title Demonstrations of Versatility. Pop art (Jasper Johns), colour field painting (Morris Louis), expressionist figuration (Francis Bacon), and the Siennese Renaissance (Duccio di Buoninsegna) were successively or conjointly evoked in his paintings, which appeared as collages of highly diverse styles (even including the “Egyptian”!). The opacity and flatness doctrinally central to modern painting Hockney reinterpreted in playful, narrative form (Play Within a Play, 1963). ROOM 4 - CALIFORNIA John Rechy’s novel City of Night and the photographs in “Physique Pictorial” magazine nourished in Hockney the image of a hedonistic and tolerant California. In January 1964, he made his first trip to Los Angeles. Answering to the clarity and intensity of the Californian light, and echoing too the example of Andy Warhol, Hockney adopted the acrylic paints that allowed the creation of precise yet almost immaterial images. Alongside photos from American gay magazines, he took many photographs of his own as a basis for his new paintings, some of which have the white margin typical of Polaroid photographs or picture postcards. Maintaining his dialogue with contemporary styles and painterly idioms he gave the luminous ripples of his swimming pools the doodled forms of Jean Dubuffet’s L’Hourloupe compositions, and transformed the surface into the colour field of a Mark Rothko or Barnett Newman. “Form and content are actually one […]. And if you go to one extreme, what you get, I think, is a dry, arid formalism that seems a bit of a bore to me. You go to the other extreme, and you get banal illustration, which is also a bore.” As he made greater use of photography following the acquisition of a 35 mm camera, Hockney’s painting flirted with photorealism. CABINET D’ART GRAPHIQUE 2 - FAMILY PORTRAITS The portrait, a genre to which he has constantly returned, allows Hockney to express the profoundly empathetic nature of his art. He has only ever painted or drawn people close to him, people who please him, people he wants to please. Like Dibutades, to whom Pliny the Elder attributes the invention of the portrait, Hockney expresses in his portraits a loving desire. His passion for Peter Schlesinger and his love of the poems of Constantine Cavafy inspired the first of his pen-and-ink portraits. Haunted by the memory of Picasso’s neo-classical portraits, these exercises in graphic virtuosity would come to their highest point of development in 1970s. Many were produced in Paris, in what had been Balthus’s studio in the Cours de Rohan. Contemporary with the most naturalistic phase of his painting, the “classical” order of the 1970s portraits would be put into question when Hockney embarked on a reconsideration of Cubism. ROOM 5 - DOUBLE PORTRAITS In 1968, Hockney started on the first of a series of large format double portraits, that of the Los Angeles collectors Fred and Marcia Weisman. Bathed in the light of Piero della Francesca’s Baptism of Christ, these compositions also recall Hopper, Balthus and Vermeer. The psychological relationship that ties together the subjects of his double portraits quickly became the essential subject of his work, though Looking at Pictures on a Screen (1977) – which shows Henry Geldzahler contemplating reproductions of several works from the National Gallery in London – illustrates Hockney’s on-going interest in the

mechanical reproduction of the image for mass circulation. Two unfinished double portraits, George Lawson and Wayne Sleep (1972-1975) and My Parents (1977), show the painter becoming weary of a too narrow naturalism. “It was a real struggle. Looking back, I think the difficulties stemmed from the acrylic paint and the naturalism.” ROOM 6 - CONFRONTING FORMALISM In the mid-1960s, Hockney divided his recent paintings into two types: one concerned with formal experiment (“Technical Pictures”), the other with narrative content (“Extremely Dramatic Pictures”). Rather than “technical”, the first group deserves perhaps to be called “ironic”, in that Hockney was here concerned to put resolutely abstractionist formal innovations to figurative use. The doodles of Jean Dubuffet’s L’Hourloupe series and the sinuous lines of Bernard Cohen became the rippling reflection of light on pool water, while Frank Stella’s geometries became the facades of buildings in Los Angeles. Returned to the fertility of figuration, the “colour fields” of Robyn Denny sprouted grass as Beverly Hills lawns, while the stain colour fields of Morris Louis and Helen Frankenthaler neatly fill up Californian swimming pools. “Horrified” by the idea of a mainstream painting, Hockney affected an apparent frivolity. His cheek did not fail to provoke the ire of Clement Greenberg, the influential theorist of formalist abstraction, who said of Hockney’s show at the André Emmerich gallery, New York, in 1969: “These are works that should have no place in any self-respecting gallery.” ROOM 7 - TOWARDS THE REINVENTION OF SPACE The commissioning of a stage design for Stravinsky’s A Rake’s Progress in 1975 brought Hockney back to the theatre and its illusions. After the naturalistic period of the double portraits, governed by the perspectival space of photography, two paintings opened up new horizons. Reimmersing himself in the work of William Hogarth (who had painted the series A Rake’s Progress in 1733-1735), he discovered the frontispiece the latter had produced for a treatise on perspective. “Kerby” – the name of its publisher – became the title of a work that was a catalogue of errors of perspective. In the foreground is a sun rendered in “reverse perspective”, a construction that would become extremely important in Hockney’s later work. The second painting, Invented Man Revealing Still Life, confronts the formal invention of a Picasso-inspired figure with the photographic realism of a still life. Kerby (after Hogarth), Useful Knowledge and Invented Man open a new chapter in the work of David Hockney, characterised by formal invention and the questioning of central perspective. ROOM 8 - PAPER POOLS In 1978, at Ken Tyler’s print-making studio, Hockney experimented with new techniques. He had discovered the works that Ellsworth Kelly and Kenneth Noland had recently made using coloured and pressed paper pulp, and the texture and colour qualities of this new material inspired him to produce 29 Paper Pools. The ability to suggest rippling reflections on water connects these evocations of changing light and weather to Monet’s Waterlilies, which Hockney invariably went to see when in Paris. In their subject matter they also recall Matisse’s 1952 studies for his Piscine. In taking up a material that approximated more closely than ever to “pure colour”, Hockney was once again close to the French master, whose conception of the work of art as a celebration of pleasure he shared. CABINET D’ART GRAPHIQUE 3 - SELF-PORTRAITS AND “CAMERA LUCIDA” » Hockney’s first self-portraits, produced just after his arrival at the Bradford School of Art, testify to his refinement of dress, a “dandyism” inspired by the example of Stanley Spencer, the English realist painter of the 1930s. It was to photography that he turned to picture himself in the 1970s, and it was only in 1983 that he took up self-portraiture methodically (starting every day with a self-portrait). Varying in pose a nd technique, these images are constant in their rigorous realism, a counterpoint to his post-Cubist photographic and pictorial experiments. In 2000-2001, Hockney embarked on a new series of large self-portraits in charcoal. Following upon the death of his mother, these show him in doubt and difficulty. As Picasso had done before him, Hockney rediscovered Rembrandt (thanks to the exhibition of selfportraits staged by the National Gallery, London, in 1999), a painter who had not feared to confront his own aging.

PRINTERS - HOME PRINTS In 1986, Hockney started making his “Home Prints”, made using a colour photocopier, superimposing and printing up to ten forms and colours to produce a mechanised version of Matisse’s cut-outs. ROOM 9 - JOINERS AND POLAROIDS In the early 1980s, the interest shown in his photographs by Alain Sayag, curator of photography at the Centre Pompidou, led Hockney to return to photography. Armed with a Polaroid camera, he set out to modernise an instrument whose optical presuppositions he thought obsolete. For the immobile Cyclopean eye to which the camera reduced its user he substituted a viewing subject who registered visual impressions in space and time. Picasso, once again was central to Hockney’s formal reflections. In a reworking of Cubism, he juxtaposed his pictures to represent different points of view, creating images that conveyed vision as a practice in space and time. In this he applied to the Cubist vision lessons learned from Henri Bergson (the philosopher of duration) and from popularisations of modern physics (the interconnection of space and time in relativity theory). ROOM 10 - ENVELOPING LANDSCAPES The viewer of Hockney’s paintings becomes the literally central character of these new landscapes empty of any human figure. These works throw off the rules of classical perspective as Hockney, inspired by Chinese scroll paintings, records in his landscapes and interiors the successive impressions of a viewer in motion. The multiplicity of viewpoints marshalled together in these paintings reflects the variety of sensations experienced through time. The painter’s use of reverse perspective, a construction of space that places the vanishing point behind the viewer, envelops the latter within the work under contemplation. Hockney’s designs for opera (Puccini’s Turandot in Chicago, Strauss’s Die Frau ohne Schatten in London) inspired a series of abstract paintings (the “Very New Paintings”) that draw on his stylisations and colour researches for the theatre. In the autumn of 1988, Hockney discovered in the fax a tool that allowed him to instantaneously distribute work among his friends, inaugurating a “fax period”. ROOM 11 - FROM UTAH TO YORKSHIRE Returning to Britain in 1997, Hockney transposed the space and chromatic intensity of the “Very New Paintings” to a series of Yorkshire landscapes. In the United States, he made a series of studies of the Grand Canyon that led to the production of a monumental work, an assemblage of canvases recalling his “joiners” made with juxtaposed photographs. In 2004, the landscapes of his Yorkshire childhood prompted the artistic culmination of Hockney’s interest in modern image technologies. Only computer simulation allowed the creation of the monumental Bigger Trees Near Warter (2007), a work whose size (4.57 x 12.19 metres) meant it would not fit into the studio Hockney used at the time. Following in the footsteps of John Constable, Hockney reinvented the English landscape for the age of the digital image.

ROOM 12 - THE FOUR SEASONS Applying to the moving image his early-1980s experiments with the collaging of photographic images (the “joiners”), Hockney created the monumental installation The Four Seasons, consisting of multiscreen images (18 screens per image) resulting from simultaneous recordings on 18 high-definition micro-cameras. From the Middle Ages to the Renaissance, the theme of the Four Seasons was associated with meditation on the order of the cosmos and on the passage of time. Hockney, who for years had lived under the unchanging and radiant sky of California, made his polyptych an ode to the cyclical renewal of the burgeoning Nature that had fascinated him as a child. Like the work of Nicolas Poussin, who tackled the theme very late in life, Hockney’s The Four Seasons are a meditation on time lost and found again. ROOM 13 - IPAD DRAWINGS A growing interest in the production of digital images led Hockney to make use of early graphics programmes and go on to explore the possibilities of the iPhone. In April 2010, three months after its launch by Apple , he used one to produce several hundred images , whose increasing sophistication

reflected his growing mastery. He exploited the digital nature of the images to disseminate them on the web and to e-mail then to his friends. He soon also came to make use of the recording facility: “I’ve played back the making of my iPad drawings […]. In The Mystery of Picasso you see Picasso paint on glass. He very quickly understood that it wasn’t the end result that mattered, but everything that came before. So you see him change direction and subject, amazingly fast. With an iPad, you can do exactly the same.” SALLE 14 - FRESH PAINTINGS Travelling from Yorkshire to California, from Los Angeles to Bridlington, Hockney carried with him the sensations and the colours of the landscapes he had just left, the ideas germinating in the studio. In the summer of 1997, his first landscapes of Northern England adopted the blazing colour of the deserts of the American West, the sinuous kinematics of Mulholland Drive. Red Pot in the Garden (2000), a view of Hockney’s California garden, radiates the same magic as had been inspired in him a few weeks earlier by the explosion of spring in Yorkshire. In both continuity and contrast, it is the botanical exuberance of Californian gardens, fantastical and almost threatening, that explodes in these recent works painted in Los Angeles.

IN CONNECTION WITH THE EXHIBITION DAVID HOCKNEY A Bigger Splash 22 June, 8 p.m., CINÉMA 2 The Centre Pompidou offers a chance to meet English director Jack Hazan, who will discuss his film A Bigger Splash. Made in 1973 in cooperation with David Hockney, who plays himself , the film represents a unique exploration of Hockney’s aesthetic and day-to-day life. Taking its title from the canvas of the same name painted in 1967, when Hockney was teaching at Berkeley, Hazan’s film offers a close-up on his working practices and the execution of a work at the intersection of Pop Art and Hyperrealism. Jack Hazan, A Bigger Splash (1973, 106’), screening introduced by Jack Hazan and Didier Ottinger Admission €14 Concessions €11 Admission free to all members of the Centre Pompidou (holders of the annual pass) Pre-sales available online : http://bit.ly/2qcvrIJ

PUBLICATIONS DAVID HOCKNEY sous la direction de Didier Ottinger

CHRONOLOGIE ET CORPUS D’ŒUVRES 1937-1958 Bradford 1959-1960 Royal College of Art 1960-1963 Démonstration de versatilité The Rake’s Progress 1964-1968 Californie

CATALOGUE Edited by Didier Ottinger Format: 24.5 x 29 cm

1968-1971 Doubles portraits Portraits

320 pages Stitched 300 illustrations €44.90 CONTENTS

1971-1974 Face au formalisme 1975-1977 De plus grand perspectives : Regarder Picasso

Serge Lasvignes Avant-propos

1978-1979 Paper Pools

Bernard Blistène Préface

1980-1981 Perspectives inversées

Didier Ottinger Quand Charlot danse avec Picasso : David Hockey à l’ère de la reproductibilité technique des images

1982-1986 Après le cubisme

Chris Stephens Jeux en abîme : objectité et illusion dans l’art de David Hockney Marco Livingtsone La dimension humaine Andrew Wilson Manières de regarder et d’être immergé dans un « plus grand tableau » Ian Alteveer Surface, volume, liquide : eau et abstraction dans les dix premières années de l’œuvre de David Hockney Jean Frémon Une passion française

1987-1996 Quelques peintures nouvellissimes 1996-2005 De l’Utah au Yorkshire Autoportraits Camera lucida 2006-2007 De plus grands arbres 2008-2016 De l’ordinateur à l’iPad Index bibliographique Liste des œuvres exposées

Picasso travaillait tous les jours. Matisse travaillait tous les jours. C’est ce que font les artistes. »

Picasso worked every day. Matisse worked every day. That’s what artists do.”

—David HOCKNEY

DAVID HOCKNEY L’ E X P O S I T I O N | T H E E X H I B I T I O N

9,50 euros

PRIX FRANCE

ISBN 978-2-84426-780 -1

centrepompidou.fr boutique.centrepompidou.fr

ALBUM Edited by Caroline Edde and Marie Sarré Format: 28 x 28 cm 60 pages 54 illustrations €9.50 euros

CATALOGUE EXTRACTS DIDIER OTTINGER WHEN CHARLIE CHAPLIN DANCES WITH PICASSO - DAVID HOCKNEY IN THE AGE OF MECHANICAL REPRODUCTION Walter Benjamin’s essay on “The Work of Art in the Age of Mechanical Reproduction” offers an echo of the techno-messianism of Saint Simon in the mid-1930s.1 Technology appears there as an agent of emancipation in the service of the project of social change that stands as the political horizon of Benjamin’s essay. “Dealing with this apparatus also teaches them that technology will release them from their enslavement to the powers of the apparatus only when humanity’s whole constitution has adapted itself to the new productive forces which the second technology has set free”.2 Boldly elliptical, Benjamin points out how the emergence of revolutionary consciousness coincided with the invention of photography, inferring from this the revolutionary character of the new medium: “With the advent of the first truly revolutionary means of reproduction (namely photography, which emerged at the same time as socialism), art felt the approach of…crisis”.3 The “art” that “felt the approach of…crisis” is quickly identified as painting, whose impermeability to modern technology leaves it, says Benjamin, to represent the values of the old order in the face of a cinema whose technical apparatus endows it with aesthetically and politically “progressive” virtues. “The technological reproducibility of the artwork changes the relation of the masses to art. The extremely backward attitude toward a Picasso painting changes into a highly progressive reaction to a Chaplin film.”4 More explicit yet is the comparison Benjamin draws between the painter and the magician: “Magician is to surgeon as painter is to cinematographer. The painter maintains in his work a natural distance from reality, whereas the cinematographer penetrates deeply into its tissue.”5 Painting and “mechanised” image are the two poles of a dialectic of progress and reaction, of alienation and emancipation, that Benjamin mobilises in his essay. Technology offers benefits in two different ways. In being applied, technology raises awareness, acting as a powerful stripper, dissolving the accretions of superstition that time and habit have deposited on the surface of paintings. Integrated into the making of art, it endows the images it produces with the emancipatory power inherent to it. Benjamin’s indictment of painting still echoed in the critical debates of the 1960s and ’70s. The “progressive” criticism represented by the highly influential journal October (Marxist in orientation, as suggested by its title) reacted in very Benjaminian terms to the “return of painting” in the early 1980s. As Benjamin Buchloh put it: “The question for us now is to what extent the rediscovery and recapitulation of these modes of figurative representation in present-day European painting reflect and dismantle the ideological impact of growing authoritarianism; or… simply indulge and reap the benefits of this…; or, worse yet…cynically generate a cultural climate of authoritarianism to familiarise us with the political realities to come.”6 It was in this context of suspicion that Hockney ventured to develop his painting. The singularity of his position, however, lies in the fact that like Benjamin he believes in the social vocation of art, a vocation that could only be fulfilled if the anathema pronounced on his favoured medium was systematically challenged. In the domain of theory he would seek to historicise the role of technology, showing how early it had become integral to painterly practice. And in his practice he would endeavour to assimilate, one by one, the emerging techniques of image production, making use of the most modern technologies

and conforming his works to the exigencies of mass reproduction. His response to Benjamin has been to dissolve the irreducible opposition the latter established between painting and technology, and to imagine a “mechanised” painting. 1 Rainer Rochlitz writes that Benjamin “confuses technical progress with the progress of art, instrumental rationality with aesthetic rationality. ‘The Work of Art’ stems from the ideology of progress denounced in Benjamin’s late works: from an idea of the ‘wind of history’ blowing toward technical development”: Rainer Rochlitz, The Disenchantment of Art: The Philosophy of Walter Benjamin, trans. J.M. Todd (New York; London: Guilford Press, 1996), p. 161. 2 These lines appear only in the second version of the essay, translated in Walter Benjamin, The Work of Art in the Age of its Technological Reproducibility and Other Writings on Media , ed. M.W. Jennings, B. Doherty and T.Y. Levin (Cambridge, MA: Harvard University Press, 2008), pp. 26-27. 3 Ibid., p. 24 4 Ibid., p. 36 5 Ibid., p. 35 6 Benjamin H.D. Buchloh, “Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting”, October 16 (Spring, 1981), pp. 39-68.

JEAN FRÉMON A PASSION FOR FRANCE Is there an enlightenment, a reason, a measure, an order characteristically French? Manifest in the gardens, the facades, the prose, the images? An invisible thread joining Racine, Poussin, Lenôtre and Rameau, and them to Manet or Berlioz, Matisse or Ravel ? The clarity one finds in Piero, Bellini, Fra Angelico… did it not become French? “I like clarity”, says Hockney, “but I also like ambiguity: you can have both in the same painting, and I think you should.» Whether founded in clarity or ambiguity, there i s certainly a love between Hockney and France. He visited often in the 1960s. Accompanied by his lover Peter Schlesinger, he frequently stayed with his friend Douglas Cooper near Uzès; with his London dealer John Kasmin, who rented the Château de Carennac in the Dordogne for the summers; and with his friend Tony Richardson – director of A Taste of Honey and The Loneliness of the Long Distance Runner – who owned a property at Le Nid du Duc, near La Garde-Freinet. Some key paintings were done there, among them Pool and Steps (1971), in which one sees the absent Peter’s sandals on the edge of the pool, while Portrait of an Artist (1972) was painted in London from photographs taken at Le Nid du Duc. A great fan of spas, Hockney often visited Vichy; it was there that he conceived the celebrated Parc des Sources (1970), in which Peter and Ossie are seen from the back, sitting in garden chairs, set against the false perspective created by the two converging rows of trees. A third chair is empty: that of the painter, who had had to remove himself from the scene to photograph it for painting later. After he broke up with Peter, not wanting to stay in the London flat they had shared, Hockney took off for Los Angeles; there he decided to visit Paris. On the very day of his departure, on 8 April 1973, he visited Jean Renoir. In the car, he heard on the radio the news of Picasso’s death.

MARCO LIVINGSTONE THE HUMAN DIMENSION Beyond all demonstrations of versatility, stylistic experiments or technical or visual researches, Hockney’s work over more than 60 years has evidenced a constant attachment to the human figure. It has been for him a subject of inexhaustible fascination, a mystery never finally plumbed, inspiring an interrogation that has taken numerous forms, between formal experiment on the one hand and psychological exploration on the other. Whether contemplating our appearance or behaviour, examining our relationships with others or retreats into ourselves, the personal experience of the individual or our feelings when love compels us to give up our isolation, his ambition has remained the same: to get closer to the truth. To find, as well as clarity, the conviction that comes with long observation, and the means to render those intuitions. These goals established themselves in Hockney’s work in the early 1970s, when he was still in his mid-thirties. They remain central to his concerns as he approaches his eightieth birthday. […] © Marco Livingstone, 2017

ANDREW WILSON WAYS OF LOOKING, AND IMMERSION IN “A BIGGER PAINTING” In his painting, David Hockney has never been concerned with verisimilitude, the “truth” of “realism”. The only “truths” he seeks are about how we see the world and the best means of representing the emotional spaces that are created when we look at it. The portraits and double portraits he did between 1968 and 1977 are today among the best known and best loved of his works. These, though, are the works that presented him with the greatest difficulties, as the site of his confrontation with “realism” and “naturalism”. At bottom, naturalism is not a matter of reproducing what the artist sees with his or her own eyes, but of reconstructing the very act of vision, of perception, an experience in which emotional response plays a very great role. This is why, in 1970, naturalism seemed to Hockney to offer a way of claiming freedom, one register among others that would allow him to continue his earlier play with different styles. In 1974 he explained that rather than faithfully transcribing an image that might have been produced in a camera, his naturalism was based on drawing: “If you know how to use your eyes, you can see more than you do through the camera lens, you can juggle with what you see, while the camera can’t.” The double portraits are thus manipulated, constructed and defined by drawing, by selective observation, psychologically, subjectively driven. These give an image that “photographic objectivity” cannot produce. In the same interview, Hockney declares that “a lens is not as good as a pair of eyes” and that photographic realism transposed into painting seems to him to be “rather boring. Perhaps because it comes closer to recent abstract painting, because it does away with drawing.”1 […] 1 Rainer Rochli David Hockney and Pierre Restany, “Une conversation à Paris/A conversation in Paris”, in David Hockney : tableaux et dessin/Paintings and Drawings, exh. cat., Paris, Musée des arts décoratifs, 1974, pp. 17-18.

CHRIS STEPHENS OBJECTIVITY AND ILLUSION IN THE ART OF DAVID HOCKNEY David Hockney is no doubt the best-known and best-loved artist of our time. His work – brilliant, bold and joyful – can appeal to people who otherwise are not much interested in high art. Over a sixty-year career, he has created a very diverse and prolific body of work, not only in painting but in print-making, theatre design, photography, video, and also making images with a range of technologies from photocopier and fax to iPhone and iPad. The attraction of his work lies to a great extent in his lightness of touch and his lively palette, which has been compared to Van Gogh’s or Matisse’s, or – perhaps more convincingly – to Raoul Dufy’s. Behind the ease and good humour evident in much of Hockney’s work, however, is a very serious aesthetic and intellectual project. Throughout his career in fact, he has been interested in visual perception, exploring the pleasures involved in, and the problems posed by, the endeavour to render in a two-dimensional image a world that exists in space and time. In asking how he can render the world pictorially in a way corresponding to our human mode of vision and comprehension, Hockney put in question the protocols of painting. He has challenged, in particular, the adequacy of the monofocal perspective that has dominated figurative painting since the Renaissance; this has led him to a repeated interrogation of photography, undermining the belief that the monocular vision of the camera is more truthful than any other. The monofocal perspective theorised by Alberti and demonstrated by Brunelleschi can capture neither the motion of the visual object nor the movement of the eye, which, tied to the body and the mind of the observer, constructs an image greatly more complex in its extension through space and time. This is why in Hockney the critique of photographic vision is often accompanied by an active exploration of the theory and practice of Cubism For him, in fact, Cubism succeeded in shattering the conventions of perspective, developing a way of representing the physical world that both allows the object perceived to be rendered in its threedimensionality and takes account of the fact that vision apprehends the object not through static observation but through movement and memory.

IAN ALTEVEER SURFACE, VOLUME, LIQUID: WATER AND ABSTRACTION IN THE FIRST TEN YEARS OF HOCKNEY’S WORK In 1963, a year before visiting Los Angeles for the first time, David Hockney painted a canvas picturing the California of his dreams. Domestic Scene, Los Angeles is a provocative image of two men, one naked under the shower, the other wearing only an apron. It was inspired by the pictures found in the pages of the gay physical culture magazine “Physique Pictorial”, a California-based publication Hockney was very fond of. “California in my mind was a sunny land of movie studios and beautiful semi-naked people,” he recalled. “It was only when I went to live in Los Angeles six months later that I realised that my picture was quite close to life ”.1 As in the original image in the magazine, the shower becomes a place of encounter between the two figures. “Americans take showers all the time…I knew that from experience and physique magazines.”2 There resulted a number of paintings inspired by the pages of “Physique Pictorial” and photographs Hockney bought from the publishers, Bob Mizer’s Athletic Model Guild, in which the shower and tiled pool of the studio served as settings for the encounters of athletic young men. In the 1961 image that underlies Boy About to Take a Shower (1964), the water streams copiously down the back of the young Earl Deane. This cascade does not figure in the version painted by Hockney, who would devote himself to the translucent and sensual flow of water down the model’s body in his later Man Taking Shower (1965). During this decade and afterward, the treatment of water would be one of the distinguishing features of Hockney’s work. […] The variety of effects made possible by the use of acrylics is illustrated by two works of this period that verge on abstraction: Rubber Ring Floating in a Swimming Pool and Deep and Wet Water. The first derives from a photograph taken looking down from the edge of a pool. “I was so struck by the appearance of this photograph, which reminded me of a Max Ernst abstract, that I thought; ‘That’s wonderful, I shall paint it just as it is’. At first glance, it looks like an abstract painting, but when you read the title the abstraction disappears.” 3 Here again, the water is painted in dilute acrylic, while the rubber ring is carefully drawn and painted on a layer of primer such that it seems to float on the surface of the canvas and the pool. 1 David Hockney, David Hockney by David Hockney: My Early Years, ed. Nikos Stangos and Henry Geldzahler (London: Thames and Hudson, 1976), p. 93. 2 Ibid, p. 99. 3 Ibid, p. 240.

BIOGRAPHY 1937 David Hockney born on 9 July, in Bradford, an industrial city in West Yorkshire, England. 1952-1959 After undergraduate studies at the Bradford School of Art, where he receives a traditional education based on drawing from life, Hockney is admitted to the Royal College of Art (RCA) in London. There he not only discovers American Abstract Expressionism but also encounters British figurative painters Francis Bacon, Richard Hamilton, Joe Tilson, Peter Black and Richard Smith, all among the visiting artists. 1960-1961 Hockney takes part in the “Young Contemporaries” exhibition at the RBA Galleries and wins the Junior Section prize at the John Moores Liverpool Exhibition. His discovery of his homosexuality and reading of the poet Walt Whitman (1819-1892) prompt the production of the Love Paintings, in a return to figuration. First visit to the United States. William S. Lieberman buys two of his prints for the Museum of Modern Art, New York. 1964-1967 Hockney moves to Los Angeles. His painting turns towards the naturalistic as he exchanges acrylic for oils and buys a Polaroid SX-70 camera. His own photographs, together with the male nudes published by the Athletic Model Guild, serve as studies for his paintings. Paintings of swimming pools in which he explores the representation of water and transparency. Designs sets and costumes for opera and theatre, notably for Alfred Jarry’s Ubu roi at the Royal Court Theatre, London 1968-1970 Begins a series of large double portraits with American Collectors (Fred and Marcia Weisman) and Christopher Isherwood and Don Bachardy. Travels to Europe. Produces his first photocollages (“joiners”). 1973-1974 Hockney moves to Paris. Given his first French retrospective by the Musée des Arts Décoratifs. Release of Jack Hazan’s film A Bigger Splash which follows the painting of Portrait of an Artist. 1975-1978 Hockney invited to design sets and costumes for Stravinsky’s opera The Rake’s Progress for the Glyndebourne Festival, and then for The Magic Flute the following year. Los Angeles becomes his principal residence. Produces the Paper Pools series, applying differently coloured paper pulps to a substrate of freshly made paper in its mould. Death of Hockney’s father. 1982-1984 Seeking to render space more adequately, and finding inspiration in both Cubism and in Chinese scroll-painting, Hockney creates photocollages first using Polaroid photos and then pictures taken with a Pentax 110. Wins the Kodak Prize for the best photographic book with Camera Works.

1985-1986 Creates a forty-page essay and the cover for the December issue of French Vogue. Makes the first “Home Made Print” using three office photocopiers installed in his Los Angeles studio. Creates drawings he then prints, sometimes incorporating photocopies of real objects. Growing interest in technical/mechanical reproducibility; notably approaches Canon in quest of new colours. 1988-1995 Travels to Japan. Makes the first “Home Made Print” using three office photocopiers installed in his Los Angeles studio. Creates drawings he then prints, sometimes incorporating photocopies of real objects. Growing interest in technical/mechanical reproducibility; notably approaches Canon in quest of new colours. Begins to use the fax machine for his art, which requires a simplification of volumes. This return to a quasi-abstract aesthetic will influence his painting. New Paintings series. Buys a Mac II FX and makes his first drawings on computer. 1998-1999 Hockney renders views of the Grand Canyon in panoramic paintings made up of 15 to 60 canvases. These are shown at the exhibition “David Hockney : Espace/Paysage” at the Centre Pompidou in Paris. 2001 Publishes Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, an enormous book in which he expounds the novel thesis that artists were making use of optical instruments as early as the 15th century. 2004-2008 Hockney moves back to his native Yorkshire. He develops a system of assembling several panels that allows him to create very large landscapes, painted from nature in the manner of the Barbizon School or the French Impressionists, notably his monumental Bigger Trees Near Warter or/ou Peintures sur le motif pour un nouvel âge photographique. Hockney acquires a Wacom graphics tablet that enables greater precision and responsiveness in the creation of lines and the application of colour. He uses this to create images combining photography, painting and computer graphics. 2009-2010 In January 2009, Hockney begins to draw on the iPhone. On 27 January 2010, Apple’s Steve Jobs launches the iPad at the Yerba Buena Center for the Arts in San Francisco. Hockney attends the event and buys one less than three months later. He uses the iPad as a sketchbook whose backlit screen allows him to draw in the dark and to blow up his images up to 600 times. The other great advantage of the iPad is its record function, making it possible to save and to view the successive stages of the work. 2011-2013 Hockney films the Woldgate area in Yorkshire over a period of more than a year, using 18 cameras mounted on a van. Creates the video installation Four Seasons. Appointed a member of the Order of Merit by Queen Elizabeth II. Creates his first video installation with sound, The Jugglers, in which jugglers dressed in black play with coloured objects against blue and red backgrounds that disturb the sense of perspective and depth. With 18 fixed cameras set in place like spectators, Hockney explores how technology reorganises the way we see.

2014-2017 After a decade in England, Hockney returns to Los Angeles. Works on series of 82 life-size portraits that will be shown at the Venice Biennale. His interest in technology is unflagging, and using the computer he creates a number works uniting several hundred photographs. With critic Martin Gayford, Hockney publishes A History of Pictures : From the Cave to the Computer Screen, extending the earlier thesis on artistsâ&#x20AC;&#x2122; use of optical instruments to the more general influence of techniques of reproduction on the history of art. Hockney continues to draw assiduously, inspired by the example of Rembrandt and Picasso. A new group of paintings marks a return to Hockneyâ&#x20AC;&#x2122;s Santa Monica garden as subject, first painted in the early 2000s. Taschen publish A Bigger Book, one of their SUMO limited edition monographs, dedicated to David Hockney.

WORKS EXHIBITED Self-Portrait, 1954

The Cha Cha Cha That Was Danced

Collage on newspaper, 41.9 x 29.8 cm

in the Early Hours of 24th March 1961

Bradford Museums and Galleries, Bradford

Oil on canvas, 172,5 x 153,5 cm Private collection

Portrait of My Father, 1955 Oil on canvas, 51 x 40,5 cm

A Rakes’s Progress: A Graphic Tale

The David Hockney Foundation

Comprising Sixteen Etchings, 1961-1963 16 etchings and aquatints on zinc in two colours,

Towpath at Apperley Road,

39,4 x 57,2 cm

Looking Towards Thackley, 1956

The David Hockney Foundation

Oil on canvas, 50,8 x 68 cm The David Hockney Foundation

Cleaning Teeth, Early Evening (10PM) W11, 1962 Oil on canvas, 183 x 122 cm

Builders, ca. 1957

Astrup Fearnley Collection, Oslo

Oil on hardboard, 50,5 x 76,2 cm The David Hockney Foundation

Flight into Italy - Swiss Landscape, 1962 Oil on canvas, 183 x 183 cm

Hen Run, Eccleshill, ca. 1957

Museum Kunstpalast, Düsseldorf

Oil on hardboard, 59,7 x 73,6 cm The David Hockney Foundation

Man in a Museum (or You’re in the Wrong Movie), 1962

Love Painting, 1960

Oil on canvas, 153 x 153 cm

Oil on cardboard, 91 x 60 cm

British Council Collection

Private collection, United Kingdom My Brother is only Seventeen, 1962 Shame, 1960

Oil and mixed media on hardboard, 151 x 75 cm

Oil on cardboard, 127 x 101,5 cm

Royal College of Art, London

Private collection The First Marriage (A Marriage of Styles I), 1962 The Third Love Painting, 1960

Oil on canvas, 183 x 214 cm

Oil on hardboard, 118,7 x 118,7 cm

Tate, Londres, presented by

Tate, Londres, purchased with assistance

the Friends of the Tate Gallery 1963

from the Art Fund, the Friends of the Tate Gallery, the American Fund for the Tate Gallery

Domestic Scene, Los Angeles, 1963

and a group of donors 1991

Oil on canvas, 153 x 153 cm Private collection

Tyger Painting #2, 1960 Oil on cardboard, 101,5 x 63,5 cm

Play Within a Play, 1963

Private collection

Oil on canvas and Plexiglas, 183 x 183 cm Private collection, c/o Connery & Associates

I’m in the Mood for Love, 1961 Oil on canvas, 127 x 102 cm

The Hypnotist, 1963

Royal College of Art, London

Oil on canvas, 214 x 214 cm Private collection

Tea Painting in an Illusionistic Style, 1961 Oil on canvas, 232,5 x 83 cm

Arizona, 1964

Tate, Londres, purchased with

Acrylic on canvas, 153 x 153 cm

assistance from the Art Fund 1996

Private collection

California Art Collector, 1964

Peter Feeling Not Too Good, 1967

Acrylic on canvas, 157 x 183 cm

Ink on paper, 35 x 43 cm

Giancarlo Giammetti Collection, London

Sabina Fliri Collection, London

Man in Shower in Beverly Hills, 1964

Savings and Loan Building, 1967

Acrylic on canvas, 167,5 x 167 cm

Acrylic on canvas, 122 x 122 cm

Tate, London, purchased 1980

Smithsonian American Art Museum, Washington, Gift of Nan Tucker

Portrait Surrounded by Artistic Devices, 1965

McEvoy

Acrylic on canvas, 152,5 x 183 cm Arts Council Collection, Southbank Center, London

The Room, Tarzana, 1967 Acrylic on canvas, 244 x 244 cm

Rocky Mountains and Tired Indians, 1965

Private collection

Acrylic on canvas, 170 x 253 cm Scottish National Gallery of Modern Art, Edinburgh

American Collectors (Fred & Marcia Weisman), 1968 Acrylic on canvas, 214 x 305 cm

Dream inn, Santa Cruz, October, 1966

The Art Institute of Chicago, Chicago,

Pencil on paper, 35,5 x 43 cm

restricted gift of Mr. and Mrs. Frederic G. Pick

The David Hockney Foundation Christopher Isherwood and Don Bachardy, 1968 Medical Building, 1966

Acrylic on canvas, 212 x 303,5 cm

Acrylic on canvas, 183 x 122 cm

Private collection

Ian and Mercedes Stoutzker Collection, London, promised gift to Tate

W. H. Auden II, 1968 Ink on paper, 43 x 35,5 cm

Peter, 1966

Private collection

Graphite, pencil and ink on 2 sheets of paper, 29,2 x 64,8 cm

Henry Geldzahler and Christopher Scott, 1969

Private collection, London,

Oil on canvas, 213,5 x 305 cm

promised gift to the British Museum,

Barney A. Ebsworth Collection

Department of Prints and Drawings Peter Langan in his Kitchen at Odinâ&#x20AC;&#x2122;s, 1969 Sunbather, 1966

Ink on paper, 43 x 35,5 cm

Acrylic on canvas, 183 x 183 cm

Private collection

Museum Ludwig, Cologne, Donation Ludwig Le Parc des Sources, Vichy, 1970 Illustrations for Fourteen Poems

Acrylic on canvas, 214 x 305 cm

from C.P. Cavafy, 1966

Devonshire Collection, Chatsworth

47,5 x 33,7 x 1,8 cm Private collection, Paris

Mark Glazebrook, 1970 Ink on paper, 43,2 x 35,6 cm

A Bigger Splash, 1967

Mrs Mark Glazebrook Collection

Acrylic on canvas, 242,5 x 244 cm Tate, London, purchased 1981

Ossie Wearing a Fairisle Sweater, 1970 Pencil on paper, 43,2 x 35,6 cm

A Lawn Being Sprinkled, 1967

Private collection, London

Acrylic on canvas, 153 x 153 cm Lear Family Collection

Peter Washing, Belgrade, September 1970 From Twenty Photographic Pictures by David

Kasmin in Bed in his Chateau in Carennac, 1967

Hockney, 1976

Ink on paper, 43,2 x 35,6 cm

Chromogenic print, 20,3 x 26,6 cm

Paul Kasmin, New York

Collection of the artist

Pretty Tulips, February 1970

The Artist’s Mother, 1972

From Twenty Photographic Pictures by David

Ink on paper, 43,2 x 35,3 cm

Hockney, 1976

Tate, presented by Klaus Anschel

Chromogenic print, 26,6 x 20,3 cm

in memory of his wife Gerty 2004

Collection of the artist A Near Window, Santa Monica, April 1973 Mr and Mrs Clark and Percy, 1970-1971

From Twenty Photographic Pictures by David

Acrylic on canvas, 213,5 x 305 cm

Hockney, 1976

Tate, presented by the Friends

Chromogenic print, 20,3 x 26,6 cm

of The Tate Gallery 1971

Collection of the artist

Celia, Carennac, August 1971

Celia in a Pink Slip, Paris, Oct. 1973

Pencil on paper, 43,2 x 35,5 cm

Pencil on paper, 64,7 x 49,5 cm

The David Hockney Foundation

Pool and Steps, Le Nid du Duc, 1971

Dr Eugene Lamb, 1973

Acrylic on canvas, 183 x 183 cm

Pencil on paper, 60 x 51 cm

Private collection

Private collection, London

Rubber Ring Floating in a Swimming Pool, 1971

Mo with Telephone, 1973

Acrylic on canvas, 91 x 122 cm

Pencil on paper, 35,5 x 43,1 cm

Private collection

The David Hockney Foundation

Tennis Court, Berkeley, November 1971

Andy, Paris, 1974

26,67 x 20,3 cm

Graphite and colour pencil on paper

Chromogenic print, 20,3 x 26,6 cm

64,8 x 49,5 cm

Collection of the artist

The Hecksher Family Collection

Still Life on a Glass Table, 1971-1972

Claude Bernard with Cigar, 1974

Acrylic on canvas, 214 x 315 cm

Pencil on paper, 43,1 x 35,5

On loan from Mica Ertegun, Trustee

The David Hockney Foundation

Celia in Black Dress with White Flowers, 1972

Contre-jour in the French Style

Pencil on paper, 43 x 35,5 cm

(Against the Day dans le Style Français), 1974

Collection Victor Constantiner, New York

Oil on canvas , 183 x 183 cm

John St. Clair Swimming, April 1972

Ludwig Museum - Museum of Contemporary Art,

From Twenty Photographic Pictures by David

Budapest

Hockney, 1976 Chromogenic print, 20,3 x 26,6 cm

Gregory, Palatine, Roma, December, 1974

Collection of the artist

Ink on paper, 43,2 x 35,6 cm Private collection

Mt. Fuji and Flowers, 1972 Acrylic on canvas, 153 x 122 cm

Pink Hose, May 1974

The Metropolitan Museum of Art, New York,

From Twenty Photographic Pictures by David

Purchase, Mrs. Arthur Hays Sulzberger Gift 1972

Hockney, 1976 Chromogenic print, 26,6 x 20,3 cm

Portrait of an Artist (Pool with Two Figures), 1972

Collection of the artist

Acrylic on canvas, 213,5 x 305 cm Lewis Collection

Yves-Marie Asleep, May 1974 From Twenty Photographic Pictures by David

The Artist’s Father, 1972

Hockney, 1976

Ink on paper, 43,2 x 35,6 cm

Chromogenic print, 26,6 x 20,3 cm

The David Hockney Foundation

Collection of the artist

Chuck, Fire Island, 1975

My parents, 1977

Ink on paper, 43,2 x 35,6 cm

Oil on canvas, 183 x 183 cm

Collection of the artist

Tate, London, purchased 1981

Joe MacDonald, 1975

A Large Diver, 1978

Colour crayons on paper, 43.2 x 34.9 cm

Coloured paper pulp, 182,8 x 434,3 cm

Private collection, Topanga

San Francisco Museum of Modern Art,

Canyon, Courtesy L.A. Louver,

San Francisco,

Venice, California

T.B. Walker F oundation Fund Purchase

Gregory Sitting on Base of Column, 1975

Billy Wilder, 1978

Ink on paper, 35,6 x 27,9 cm

Ink and pencil on paper, 48,2 x 60,9 cm

The David Hockney Foundation

Invented Man Revealing Still Life, 1975

Canyon Painting, 1978

Oil on canvas , 92,8 x 73,3 cm

Acrylic on canvas, 152,5 x 152,5 cm

The Nelson-Atkins Museum of Art, Kansas City,

Private collection

gift of Mr. and Mrs. William L. Evans Jr. Schwimmbad Mitternacht (Paper Pool 11), 1978 Kerby (After Hogarth) Useful Knowledge, 1975

Coloured paper pulp, 182,8 x 215,9 cm

Oil on canvas , 183 x 152,5 cm

Collection of the artist

The Museum of Modern Art, New York, Gift of the artist, J. Kasmin,

Mother, Bradford, 19th February, 1978

and the Advisory Committee Fund 1977

Ink on paper, 35 x 27,5 cm The David Hockney Foundation

Peter Showering, Paris, July 1975 From Twenty Photographic Pictures by David

Fall Pool with Two Flat Blues (Paper Pool 28), 1978

Hockney, 1976

Coloured paper pulp, 182,8 x 215,9 cm

Chromogenic print, 26,6 x 20,3 cm

JoĂŁo Vasco Marques Pinto Collection

Collection of the artist Divine V, 1979 Roland Petit, 1975

Ink on paper, 43,2 x 35,6 cm

Ink on paper, 43,2 x 35,5 cm

Private collection

Galerie Lelong, Paris Nichols Canyon, 1980 Ron Kitaj Outside the Academy of Fine Arts,

Acrylic on canvas, 213,5 x 152,5 cm

Vienna, 1975

Private collection

Ink on paper, 43 x 35,5 cm Private collection

Outpost Drive, Hollywood, 1980 Acrylic on canvas, 152,5 x 152,5 cm

Steps Into Water, May 1975

Leslee & David Rogath

From Twenty Photographic Pictures by David Hockney, 1976

William Burroughs II, 1980

Chromogenic print, 26,6 x 20,3 cm

Pencil on paper, 43,2 x 35,6 cm

Collection of the artist

Galerie Lelong, Paris

Kasmin Reading the Udaipur Guide, 1977

Hollywood Hills House, 1981-1982

Ink on paper, 48,5 x 61 cm

Oil, charcoal and collage on canvas, 152,5 x 305 cm

Collection Mandy and Cliff Einstein

Walker Art Center, Minneapolis, gift of Penny and Mike Winton 1983

Looking at Pictures on a Screen, 1977 Oil on canvas, 188 x 188 cm The Miles and Shirley Fiterman Foundation

Billy + Audrey Wilder, Los Angeles, April 1982

Walking in the Zen Garden at the Ryoanji Temple,

Composite Polaroid photograph, 117 x 112 cm

Kyoto, Feb. 1983

Collection of the artist

Photocollage, 101,5 x 159 cm Collection of the artist

Celia, Los Angeles, April 10th 1982 Composite Polaroid photograph, 46 x 76 cm

Pearblossom Hwy., 11-18th April 1986, #1, 1986

Collection of the artist

Photocollage, 119 x 163 cm The J. Paul Getty Museum,

Don + Christopher, Los Angeles, 6th March 1982

Los Angeles, Gift of David Hockney

Composite Polaroid photograph, 80 x 59 cm Collection of the artist

The Tree, November 1986 15 / 15 Edition

Grand Canyon with Foot, Arizona, Oct. 1982

Paper photocopies, 8 sheets

Photocollage, 62 x 141 cm

The David Hockney Foundation

Collection of the artist Large Interior, Los Angeles, 1988 Gregory Swimming, Los Angeles, March 31st 1982

Oil, ink and pasted paper on canvas

Composite Polaroid photograph, 70,5 x 130 cm

183.5 x 305.4 cm

Collection of the artist

The Metropolitan Museum of Art, New York, purchase, Natasha Gelman Gift, in honor of William

Kasmin, Los Angeles, 28th March 1982

S. Lieberman 1989 (1989.279)

Composite Polaroid photograph, 106 x 75,5 cm Collection of the artist

Water & Edge, 1989 Drawing made of 16 fax sheets, 86,4 x 142,2 cm

My Mother, Bolton Abbey, Yorkshire, Nov. 1982

The David Hockney Foundation

Photocollage, 121 x 70 cm Collection of the artist

Pacific Coast Highway and Santa Monica, 1990 Oil on canvas, 198 x 305 cm

Self-Portrait, 30th Sept. 1983

Private collection, United-States

Pencil on paper, 76,6 x 56,9 cm National Portrait Gallery, London,

The Other Side, 1990-1993

Given by David Hockney 1999

Oil on 2 canvases, 183 x 335 cm

Selft-Portrait with Check Jacket, 1983

Saltâ&#x20AC;&#x2122;s Mill, Saltaire, Bradford

Charcoal on paper, 76 x 57 cm The David Hockney Foundation

The Eleventh V.N. Painting, 1992

Self-Portrait with Cigarette, 1983

Oil on canvas, 61 x 91,5 cm

Charcoal on paper, 76 x 57 cm

The David Hockney Foundation

The David Hockney Foundation The Twenty-Sixth V.N. Painting, 1992 Self-Portrait without Shirt, 1983

Oil on canvas, 61 x 91,5 cm

Pencil on paper, 76 x 57 cm

David C. Bohnett Collection

The David Hockney Foundation The Road across The Wolds, 1997 Self-Portrait with Tie, 1983

Oil on canvas, 123 x 152,5 cm

Charcoal on paper, 76 x 57 cm

Private collection

The David Hockney Foundation Colorado River, 1998 The Scrabble Game, Jan 1, 1983

Oil on 15 canvases, 207 x 184 cm

Photocollage, 99 x 147,5 cm

Private collection, United-States,

Collection of the artist

courtesy Richard Gray Gallery

9 Canvas Study of the Grand Canyon, 1998

Red Pots in Garden, 2000

Oil on 9 canvases, 100 x 166 cm

Oil on canvas, 152.5 x 193 cm

Richard and Carolyn Dewey

Private collection, courtesy Guggenheim Asher Associates

Colin St. John Wilson, London, 3rd June 1999 Graphite and pencil on paper using a camera

Self-Portrait in Black Sweater, 2003

lucida, 38,1 x 48,5 cm

Watercolour on paper, 61 x 46 cm

The David Hockney Foundation

Gregory Evans, Los Angeles, 18th September 1999

Self-Portrait in Mirror, 2003

Graphite and gouache on paper using a camera

Watercolour on paper, 61 x 46 cm

lucida, 56,5 x 38,1 cm

The David Hockney Foundation

The David Hockney Foundation Self-Portrait in Underwear, 2003 Laura Huston, London, 22nd June 1999

Watercolour on paper, 61 x 46 cm

Graphite and pencil on paper using a camera

The David Hockney Foundation

lucida, 38,1 x 28,2 cm The David Hockney Foundation

Self-Portrait with Glasses, N.Y. September 2003 Ink and watercolour on paper, 31 x 23 cm

Lindy, Marchioness of Dufferin and Ava, London,

The David Hockney Foundation

17th June 1999 Graphite and pencil on paper using a camera

True Mirror Self-Portrait, 2003

lucida, 38,1 x 42,8 cm

Ink on paper, 41 x 31 cm

The David Hockney Foundation

Self-Portrait, Baden-Baden, 8th June 1999

A Closer Winter Tunnel, February–March 2006

Pencil on paper, 28 x 38 cm

Oil on 6 canvases, 183 × 366 cm (overall)

The David Hockney Foundation

Art Gallery of New South Wales, purchased with funds provided by Geoff and Vicki Ainsworth,

Self-Portrait, Baden-Baden, 9th June 1999

the Florence and William Crosby Bequest and the

Pencil on paper, 28 x 27 cm

Art Gallery of New South Wales Foundation 2007

The David Hockney Foundation Elderflower Blossom, Kilham, July 2006 Self-Portrait, Baden-Baden, 10th June 1999

Oil on 2 canvases, 122 × 183 cm (overall)

Pencil on paper, 38 x 27 cm

Private collection

The David Hockney Foundation The Road to Thwing, July 2006 Self-Portrait, London, 3rd June 1999

Oil on 6 canvases, 183 × 366 cm (overall)

Pencil on paper, 56 x 38 cm

Private collection

The David Hockney Foundation Bigger Trees near Warter or/ou Peinture sur le Motif Self-Portrait, London, 13th June 1999

pour le Nouvel Âge Post-Photographique, 2007

Pencil on paper, 38 x 27 cm

Oil on 50 canvases, 459 x 1225 cm

The David Hockney Foundation

Tate, London, presented by the artiste 2008

Going Up Garrowby Hill, 2000

The Four Seasons, Woldgate Woods (Spring, 2011;

Oil on canvas, 213,5 x 152,5 cm

Summer, 2010; Autumn, 2010; Winter, 2010),

Private collection, Topanga, Canyon,

2010-2011

Courtesy L.A. Louver, Venice,California

36 digital videos synchronised and presented on 36 55-inch monitors to comprise a single artwork, 4’ 21’’ Collection of the artist

Garden, 2015

LISTE DES DOCUMENTS EXPOSÉS

Acrylic on canvas, 122 x 183 cm Collection of the artist

Athletic Model Guild. Physique Pictorial, Los Angeles, Autumn 1956 - 20.96 cm x 13.34 cm

Garden with Blue Terrace, 2015 Acrylic on canvas, 122 x 183 cm

Athletic Model Guild. Physique Pictorial, Los Angeles,

Private collection

Vol. 10, No.2, August 1960 - 20.96 cm x 13.34 cm

Garden #3, 2016

Athletic Model Guild. Physique Pictorial, Los Angeles,

Acrylic on canvas, 91,5 x 122 cm

Vol. 11, No. 2, November 1961 - 20.96 cm x 13.34

Collection of the artist

The Smoking Room, 2016

Athletic Model Guild. Physique Pictorial, Los Angeles,

iPad drawing printed on paper, mounted on Dibond,

Vol. 11, No. 3, March 1962 - 20.96 cm x 13.34 cm

91 x 206 cm (overall) Collection of the artist

Athletic Model Guild. Physique Pictorial, Los Angeles, Vol. 14, No. 3, February 1965 - 20.96 cm x 13.34 cm

The Smoking Room, 2016 iPad drawing presented on 3 screens

Athletic Model Guild. Physique Pictorial, Los Angeles,

68,5 x 365,4 cm (overall)

Vol. 15, No. 2, January 1966 - 20.96 cm x 13.34 cm

Collection of the artist Athletic Model Guild. Physique Pictorial, Los Angeles, The Supper, 2016

Vol. 15, No. 4, February 1968 - 20.96 cm x 13.34 cm

iPad drawing printed on paper, mounted on Dibond, 91 x 274 cm (overall)

Vogue, Paris, No 662, december-january 1986,

Collection of the artist

31 x 24 cm.

The Supper, 2016

The Sunday Times magazine, 21 February 1988,

iPad drawing presented on 4 screens

31.5 x 25.8 cm.

68.5 x 487.2 cm (overall) Collection of the artist

Interview, December 1986, 40.5 x 27.5 cm.

Two Pots on a Terrace, 2016

Bradford’s, Telegraph & Argus, 3 March 1983,

Acrylic on canvas, 183 x 122 cm

41 x 30.5 cm.

Collection of the artist John Rechy, City of night, Grove Press, Annunciation 1, Interior and Exterior with Flowers, 2017 Acrylic on canvas, 121,9 x 243,8 cm Collection of the artist Annunciation 2, after Fra Angelico, 2017 Acrylic on canvas, 121,9 x 243,8 cm Collection of the artist Interior with Blue Terrace and Garden, 2017 Acrylic on canvas, 121,9 x 243,8 cm Collection of the artist

New York, 1963 (first edition).

PARTNERS ABOUT BANK OF AMERICA MERRILL LYNCH’S PROGRAMME OF ARTS SUPPORT Bank of America Merrill Lynch’s support of the “David Hockney Retrospective” exhibition represents the company’s second collaboration with the Pompidou Center in Paris. BofAML was the global sponsor of the Roy Lichtenstein exhibition world tour, which was presented at the Pompidou Center from July 3 to November 4, 2013. In 2017, it also lends two photographs from the Bank of America Collection for the Walker Evans exhibition, to take place at the Pompidou Center from April 26 to August 14. Bank of America Merrill Lynch’s programme of arts support reflects the company’s belief that the arts matter. They help economies to thrive, individuals to connect with each other across cultures, and they educate and enrich societies. BofAML’s focus on the arts is a key element of the company’s commitment to responsible growth. Around the world, BofAML supports not-for-profit arts institutions that deliver both the visual and performing arts which provide inspirational educational programms, open access for all communities, create jobs, and act as pathways to greater cultural understanding. In France, BofAML has provided arts support for several years to major cultural institutions. It was one of three corporate philanthropists to support the restoration of the Winged Victory of Samothrace at the Louvre (between 2010 and July 2014) through its global Art Conservation Project. The company also supported the restoration of Gustave Courbet’s painting, The Artist’s Studio, at the Orsay Museum in Paris (between 2013 and 2016). BofAML was among the sponsors of the exhibition “Eternal Sites: From Bamiyan to Palmyra, A journey to the heart of universal heritage» at the Grand Palais, Paris (December 14, 2016 to January 9, 2017). The company is also the global sponsor of the Chicago Symphony Orchestra, which notably performed at the Philharmonie de Paris on January 13, 2017. For the third time since 2012, BofAML will also be the tour sponsor of the Alvin Ailey American Dance Theater, which will perform in Paris in June 2017 as part of the festival les Etés de la Danse.

“Bank of America Merrill Lynch is proud to be associated with this exhibition to celebrate 80 years of the iconic artist, David Hockney. The artist’s wish that his works be publically displayed on a large scale is exactly in line with our approach of openness and accessibility towards art, in the United States and the world. Our support for this exhibition bears witness to our commitment, for many years, to artistic and cultural institutions. It expresses our belief that art holds an important place in society”. Rena De Sisto, global arts and culture executive at Bank of America Merrill Lynch

Learn more at www.bankofamerica.com/about, and connect with the company on Twitter @BofAML

LINKLATERS Linklaters is pleased to announce its support for David Hockney’s retrospective exhibition. Linklaters is proud to make a commitment to work alongside the Centre Pompidou by supporting them for David Hockney’s retrospective which will be held from 21 June to 23 October 2017. In the exceptional context of the 40th anniversary of the Centre Pompidou, a major cultural player of contemporary art from France and abroad, Linklaters is proud to announce its support for the great retrospective dedicated to David Hockney’s work. Featuring work from Tate Britain in London and the New York Metropolitan Museum of Art, the exhibition is a celebration of the artist’s 80th birthday. David Hockney is the most famous British living artist. A popular painter, whose approach is nonetheless based on a more intellectual process and strong classic painting references, Hockney’s work is characterised by his colour control, his way of thinking about the landscape and his openness to nature. He constantly challenges his work, thanks to his innovative use of new technologies, as his latest works created on the iPad and presented at the exhibition demonstrate. This new partnership forms part of a policy of artistic patronage and a long-term cultural engagement initiated in 2012 by Linklaters in Paris. After Helmut Newton, Keith Haring, Niki de Saint Phalle and Hergé’s retrospectives, this will be the fifth time that the firm is supporting a major exhibition, in Paris. In order to strengthen its cultural and societal commitment, the firm is now getting support from the Linklaters Foundation, which was launched in 2015. In accordance with Linklaters’ values of innovation and excellence, the Foundation has two main purposes: to fight against various forms of exclusion and to enhance Linklaters’ support for artistic creation, especially contemporary art and photography. In addition to this support for institutional exhibitions, the firm’s cultural commitment is reflected by the collection of contemporary photographs composed of more than 70 artworks which have been on display in our offices since 2010. Our recent acquisitions include Charles Fréger’s works from the Yokainoshima series recently on display at the Rencontres d’Arles and some photographs taken from Raymond Depardon’s La France series.

GALERIE LELONG Galerie Lelong has represented David Hockney’s work in Paris since 2001. We are delighted to contribute to the success of this retrospective, the most important that has ever been organised. Galerie Lelong has maintained a close working relationship with the Centre Pompidou since its creation. In France and abroad, Galerie Lelong provides support to many cultural and artistic institutions. For French museums, we facilitate long-term loans or donation of works by the artists and estates we represent. We regularly publish the writings of artists and have also prepared and published the catalogue raisonné of the work of Joan Miró.

VISUALS FOR THE PRESS GENERAL CONDITIONS OF REPRODUCTION IN PERIODICAL PUBLICATIONS • these visual images of artworks may only be used to illustrate an article related to the exhibition or to a current event directly connected with it; • any manipulation or modification of the artwork is forbidden; any reproduction must respect the integrity of the work; • any reproduction will be accompanied by a copyright notice in the form: artist name, title and date of the work, followed by ©, and this whatever may be the origin of the image or the person or institution that holds the work; • in the case of reproduction on the cover or front page permission must be obtained in advance from DHI - repro@hockneypictures.com; • in no case may use be made of the images outside the period of the exhibition. • images may only be used in low definition on websites.

Self Portrait, 1954 Collage 41,29 x 29,80 cm © David Hockney Photo: Richard Schmidt Bradford Museums and Galleries, Bradford

I’m in the Mood for Love, 1961 Oil on canvas 122 x 91,4 cm © David Hockney Photo: Prudence Cuming Associates Royal College of Art, London

The First Marriage (A Marriage of Styles I), 1962 Oil on canvas 182,90 x 214 cm © David Hockney Collection Tate, London, presented by The Friends of the Tate Gallery 1963

Portrait of an Artist (Pool with Two Figures), 1972 Acrylic on canvas 213,5 x 305 cm © David Hockney Photo: Art Gallery of New South Wales / Jenni Carter Lewis Collection

Le Parc des Sources, Vichy, 1970 Acrylic on canvas 214 x 305 cm © David Hockney Photo: Chatsworth House Trust Devonshire Collection, Chatsworth

Looking at Pictures on a Screen, 1977 Oil on canvas 188 x 188 cm © David Hockney The Miles and Shirley Fiterman Foundation

Henry Geldzahler and Christopher Scott,1969 Oil on canvas 213,5 x 305 cm © David Hockney Photo: Richard Schmidt Barney A. Ebsworth Collection

Contre-jour in the French Style (Against the Day dans le Style Français), 1974 Oil on canvas 183 x 183 cm © David Hockney Ludwig Museum - Museum of Contemporary Art, Budapest

Schwimmbad Mitternacht (Paper Pool 11), 1978 Coloured paper pulp 182,80 x 215,90 cm © David Hockney Photo: Richard Schmidt Collection of the artist

Pacific Coast Highway and Santa Monica, 1990 Oil on canvas 198 x 305 cm © David Hockney Photo: Steve Oliver Private collection, United-States

Bigger Trees near Warter or/ou Peinture sur le motif pour le Nouvel Âge Post-Photographique, 2007 Oil on 50 canvases 182,90 x 365,80 cm © David Hockney Photo: Prudence Cuming Associates Collection Tate, London, presented by the artist 2008

9 Canvas Study of the Grand Canyon, 1998 Oil on 9 canvases 100 x 166 cm © David Hockney Photo: Richard Schmidt Richard and Carolyn Dewey

Large Interior, Los Angeles, 1988 Oil, ink and pasted paper on canvas 183,50 x 305,40 cm © David Hockney Metropolitan Museum of Art, New York, purchase, Natasha Gelman Gift, in honor of William S. Lieberman 1989 (1989.279)

The Fours Seasons, Woldgate Woods, 2010-2011 (Spring 2011, Summer 2010, Autumn 2010, Winter 2010) 36 digital videos synchronised and presented on 36 55-inch monitors to comprise a single artwork, 4’ 21’’ 205,70 x 364,40 cm 4’ 21’’ © David Hockney Collection of the artist

Dream inn, Santa Cruz, October 1966 Pencil and watercolour on paper 35,6 x 43 cm © David Hockney Photo: Richard Schmidt The David Hockney Foundation

USEFUL INFORMATION USEFUL INFORMATION

AT THE SAME TIME AT THE CENTRE POMPIDOU

CURATOR

Centre Pompidou

MUTATIONS / CRÉATIONS

Didier Ottinger

75191 Paris cedex 04

IMPRIMER LE MONDE

Curator at the Musée National d’Art

telephone

15 MARCH- 19 JUNE 2017

Moderne

00 33 (0)1 44 78 12 33

ROSS LOVEGROVE 12 APRIL- 3 JULY 2017 press officer Anne-Marie Pereira 01 44 78 40 69 anne-marie.pereira@centrepompidou.fr

metro Hôtel de Ville, Rambuteau Opening Exhibition open 11 a.m. - 9 p.m. every day except Tuesdays Admission €14 Concessions €11 Valid the same day for the Musée National d’Art Moderne and all exhibitions Admission free to all members of the Centre Pompidou (holders of the annual pass) Tickets can be bought at

WALKER EVANS 26 APRIL - 14 AUGUST 2017 press officer Élodie Vincent 01 44 78 48 56 elodie.vincent@centrepompidou.fr STEVEN PIPPIN 15 JUNE- 11 SEPTEMBER 2017 press officer Élodie Vincent 01 44 78 48 56 elodie.vincent@centrepompidou.fr

www.centrepompidou.fr and printed at home

ANARCHÉOLOGIES 15 JUNE - 11 SEPTEMBER 2017 press officer Dorothée Mireux 01 44 78 46 60 dorothee.mireux@centrepompidou.fr HERVÉ FISCHER 15 JUNE- 11 SEPTEMBER 2017 press officer Timothée Nicot 01 44 78 45 79 timothee.nicot@centrepompidou.fr AT THE MUSEUM : BERNARD LASSUS 24 MAY- 28 AUGUST 2017 press officer Dorothée Mireux 01 44 78 46 60 dorothee.mireux@centrepompidou.fr COLLECTIONS MODERNES 1905-1965 L’ŒIL ÉCOUTE NEW DOSSIER EXHIBITION SEQUENCE from 4 May 2017 press officer Timothée Nicot 01 44 78 45 79 timothee.nicot@centrepompidou.fr