{"id":1111,"date":"2022-06-29T18:26:39","date_gmt":"2022-06-29T16:26:39","guid":{"rendered":"https:\/\/www.hockney2022.ch\/stil-technik\/"},"modified":"2022-07-14T14:29:25","modified_gmt":"2022-07-14T12:29:25","slug":"stil-technik","status":"publish","type":"page","link":"https:\/\/www.hockney2022.ch\/en\/hockney\/stil-technik\/","title":{"rendered":"Style & Technique"},"content":{"rendered":"\n
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Life-long Delight in Invention\n<\/h2>\n\n
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David Hockney is an enthusiastic artist who reinvents himself repeatedly as such.<\/p>\n <\/div>\n<\/div>\n\n\n

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Hockney\u2019s studies corresponded to those of traditional artist training, meaning precise observation of the motif, especially nude drawing, but also portraits and still lifes. Hockney\u2019s works from his student years (1953\u20131957) are therefore traditional, old school. But as a virtuoso painter, Hockney quickly appropriated different styles, processing various tendencies in modernism and contemporary painting, orienting himself around Henri Matisse and Francis Bacon and revisiting the Italian Renaissance as well as Egyptian painting.<\/p>\n<\/div>\n\n\n\n

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Breaches in Style<\/h2>\n<\/div>\n\n\n\n
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A visit to the large-scale Picasso exhibition at the Tate in London in 1960 was a key experience for Hockney. He went back to the exhibition eight times, enthusiastic about the diversity of Picasso\u2019s styles, something that encouraged his own delight in experimentation. In 1962 he presented four works in totally different styles at the Young Contemporaries under the heading Demonstration of Versatility<\/em>.<\/p>\n<\/div>\n\n\n\n

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Pablo Picasso, Buste de femme (Jacqueline), Notre-Dame de Vie<\/em>, 1960, Museum Sammlung Rosengart, Luzern, \u00a9 Succession Picasso \/ 2022, ProLitteris, Zurich<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Various proofs during the Hockney Moving Focus<\/em> project, Tyler Graphics Ltd., Bedford Village, New York, 1985, photo: Kenneth Tyler, National Gallery of Australia, Canberra, Gift of Kenneth Tyler 2002<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\u201cI deliberately set out to prove I could do four entirely different sorts of picture like Picasso.<\/em>\u201d<\/p>David Hockney, 1965<\/cite><\/blockquote>\n<\/div>\n\n\n\n

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David Hockney, My Parents<\/em>, 1977, Oil on canvas, 193 \u00d7 183 cm, Tate: Purchased 1981, \u00a9 David Hockney<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Even though Hockney has cultivated a variety of styles, he still clearly names stylistic phases in his oeuvre. For example, he pursued a naturalistic style in the large double portraits of the 1970s, even if those works are painted in a simplified and highly constructed way. Soon however Hockney felt that illusionistic painting was a trap, which he wanted to avoid. In his view, the true-to-nature photographic image also does not correspond to human perception, which is also shaped by emotions or memories.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Tradition & iPad<\/h2>\n\n\n\n
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In his oeuvre Hockney cultivates traditional painting genres: the landscape, the portrait and the still life. Nevertheless, he reinvents his way of painting repeatedly, in the same vein as his role model Picasso. The artist is also open to new media which he uses with curiosity and a delight in experimentation. In the 1970s it was Polaroid photography, later he drew with an iPhone and bought himself an iPad as soon as they came on the market in 2010. The pictorial idiom of these particular media have changed his works. In his Polaroid photographs he devised images from several perspectives, while the brilliance of the colours on a screen has led to him using stronger shades in his oil paintings.<\/p>\n<\/div>\n\n\n\n

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