His influences and life in America
America was pivotal in the life of David Hockney. The significant gay scene on the west coast of America in the 60’s drew Hockney to America. It was here he became influenced by the Californian lifestyle and its relaxed attitudes to homosexuality. It was to be this time spent in America that would see Hockney produce some of his best work, with his ever increasing naturalistic style and his obsession with the human figure.
America. America in the 60’s can be said to be in a decade of change. It is important to understand what attracted Hockney so much to America. Everything was happening in America at that time, from war to the space race. America, like Hockney in the early 60’s, was in a state of confusion with endless conflicts and explorations. This may well have been what brought him to the States: the similarity and emotions both America and he shared at the time.
In 1961 Hockney first came to New York, financed by his gold medal award from the Royal College of Art after his graduation. The effect of America was to be immediate. He dyed his hair blond and wore black rimmed glasses, matched by colourful garments. He was to become a new person free from the constraints of British society. It would be by this definitive image that he would become famous throughout the swinging sixties in both America and England. It would not be until after another visit to New York in 1964 that Hockney would finally reach his haven, when he flew on to Los Angeles. On reaching the City of Angels Hockney is said to have uttered “My God, this place needs its Piranesi; . . . so here I am!” Piranesi (1720-1778) was famous for his catalogue of etchings predominately of Rome; he would leave nothing out of a picture. His etchings are exceedingly detailed. This quote of Hockney’s refers to him systematically charting Los Angeles in a similar fashion to the way Piranesi detailed Rome, but with his unique style.
A Bigger Splash in an expression of Hockney’s emotion and feelings he felt due to the impact that America had upon him.
A Bigger Splash 1967
A Bigger Splash is probably Hockney’s calling card. Although not expressive of his sexuality, it is recognisable due to the American feel of the painting. The sun, palm trees and architecture ooze of America, whist being broken by a ‘bigger splash’. The swimming pool, for which Hockney is now famous, became spontaneously recognisable with America. This owes much to the artist capturing the true essence of the place. America was so different to Bradford due to the light, heat, colour and people that Hockney focused on the one thing that incorporated all of these things. On one level or another people connected with his paintings. A Bigger Splash was all things American.
Sexuality. It is remarkable that such an openly homosexual man came out of a strictly heterosexual society. Homosexuality in Britain was banned until 1967. Out of the repression of childhood came such a flamboyant figure. I feel that the influence of sexuality in Hockney’s art is extremely important and should be looked into in more detail.
From an early age male company surrounded Hockney. It was during his time at Bradford Grammar School that he realised his true inner feelings. He would suppress these until reaching the Royal College of Art where his coming to terms with his sexuality influenced his art. The College offered opportunities for him to meet others who faced similar changes in their lives. He used abstract words in his work, often with sexual connotations, referring to himself as ‘queer’ and an ‘unorthodox lover’.
His expression of his sexuality brought him fame and fortune when he reached America. I have already talked about the relaxed laid back atmosphere of California, which allowed Hockney to produce his famous swimming pool scenes. The static snap shot views evoked California as this place of relaxation and fun.
‘Two figures-Pool’ 1970
The landscape of the hills of California and the sun prompted Hockney to become more open about himself as this picture clearly shows. Two men likely to be Hockney and his lover at the time Peter Schlesinger are shown close by the poolside. This for Hockney was why he loved California at this time the openness and freedom of expression. His intimacy with Schlesinger would become so enduring that Hockney’s’ pictures where a portraiture of their enduring relationship. Hockney had previously expressed his sexuality in Two Boys in a Pool back in 1965. This picture openly shows two nude males emerging from a swirling pool. The water is very reminiscent of the 60’s in America and Europe with soft edges and similar to hippie ‘flower power’ shapes. This picture incorporates all aspects of Hockney’s work. A static depiction, emphasing the figures bronzed by the Californian sun. The pool he is renowned for but the water represents an undulating openness of 60’s motifs. The picture sums up the Californian gay scene at the time; a mixture of emotions but emerging.
Two Boys in a pool-1965
His ideas and major contributions
David Hockney throughout his illustrious career has pioneered several art movements most notably pop art. In this chapter I will talk about his contribution to pop art. His wide range of medias with special focus on photography for which Hockney would become famous. I believe it is important to know what an artist is thinking so a look into Hockney’s book on the old masters the ‘Secret knowledge’ should provide an interesting insight in how he sees the work of others. I will also take a great interest in the film documenting Hockney’s life ‘A bigger Splash’1967 as I feel t would be fascinating to see how others at the time of his fame viewed the man.
Pop Art. When the term Pop Art is mentioned David Hockney’s name is inextricably associated, but why? Firstly, what is Pop Art? ‘Pop’ in Pop Art refers to the popular culture of the moment. Ordinary people could indulge in much pleasure from these pictures, as they would do from T.V or comics for example. Richard Hamilton a leading pioneer of the movement, described Pop Art as ‘popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, and Big Business’. Secondly, when and where did Pop Art begin? It started in England in the 1950’s and crossed over the Atlantic, gaining world recognition in the 1960’s. The English critic Lawrence Alloway from the Architectural Digest first used the term ‘Pop Art’ in 1958. He used the term to describe paintings which commemorate post-war consumerism in 1961 at the Young Contemporaries Exhibition. He and his fellow modern expressionists (Jones, Phillips, Hamilton and Kitaj) were crowned the fore-runners of the Pop Art Movement. Although Hockney repudiates the Pop Art label, his art is of a popular nature. Aesthetically pleasing yet with a subtle undertone unique to Hockney combining colour, light and meaning.
Picasso. In 1960 Hockney visited the Picasso exhibition at the Tate Gallery London. From then on Picasso became one of his artistic heroes. Hockney was living in Paris when Picasso died in 1973. The turn of events inspired Hockney to pay homage to such a great artist in that same year. This is clearly recognisable in Hockney’s etching The Student: Homage to Picasso. A student holds a portfolio whilst standing in front of an oversized marble head of Picasso. Hockney was lucky enough to work with Aldo and Piero Crommelynck who had been Picasso’s master printers. There help and influence was so great that Hockney dedicated a series of prints to the great Spaniard. He took inspiration from both colour and period. Hockney at the time would use ideas of Picasso, combining both the Blue phase and Cubist element of Picasso’s work into one set of etchings in 1976-77. ‘The Blue Guitar’ used motifs by the great cubist painter in a series of etchings exhibited in the ‘Benaki Exhibition’.
Hockney would continue to be influenced by Picasso. His 68 lithograph/screenprints were all inspired by the old master. It would however be one print ‘Slow Rise’ that truly showed this effect. The series produced in 1994 honours Picasso. Slow Rise is a painting that again reflects Hockney’s obsession with all things Californian. It shows the Californian climate, notably the sun and also geography of the area, whilst combining all elements of Picasso. The cubist abstract manner of the painting merges elements of both men. From Hockney’s work on stage design he is somewhat of an illusionist and uses this in the painting. He generates a clearly visible landscape that, like in a theatre, a person on the back row would be able to understand. Flat, freestanding components are bold and stressed emphasising their impact on the picture. With its own unique definable style, this painting is a true sign of the effect that Picasso had on a young impressionable artist back in 1973 when he died.
Slow Rise 1994
‘Secret Knowledge’.
Hockney’s book, published in 2001, gives the viewer an insight into the mind of the infamous Pop Artist. What is most interesting is the perspective Hockney gives us on the old masters works from past centuries. A pop artist viewing renaissance classics was unusual which is why this is a valuable insight into the thinking of this prolific artist. The book contains 460 illustrations to aid Hockney’s points. The book is divided into three sections, visual, textual, and correspondence evidence.
Hockney, never shy of controversy, argued that the old masters used optical instruments to aid them with their masterpieces. A camera lucida is said to be the instrument which allowed them to produce such accurate work. The controversy arising is that such a distinguished painter should turn his back on the great masterpieces of the past. A lack of evidence in the book showing preliminary sketches using the camera and the idea that an artists’ work is done by skill alone. These arguments detracted from Hockney’s views. From the book it is apparent that optical devices were used, but to what extent? My interpretation of the book was even if optical devices were used a lens cannot draw a line. The book does not detract from the old masters’ work. It does provide an insight into Hockney’s beliefs on art. He is a believer in pure talent and skill. He does understand, that optical assistance does not make or draw a picture/painting but feels that its mere use makes it impure.
‘A Bigger Splash’
The film was released a decade later after being produced in 1974. This work of genius was one of the few films to capture the ‘swinging London’ art and gay scenes which were so closely interlinked at the time. The fictional film is acted with all actors playing themselves. It depicts a fantasy story of David Hockey, a gay painter at the time, being unable to work due to the breaking up with his gay lover. This worrying turn of events created strains between Hockney, his friends and his art dealer. The film continues with Hockney taking inspiration from swimming pools, for which he would become so famous. This piece of film was famously shot by the photographer Jack Hazan, who managed to capture the essence of Hockney in his prime.
Hogarth’s Rake’s progress. In 1961 Hockney set to work on a modern series of prints depicting Hogarth’s ‘Rakes Progress’. These were to reflect his American experiences. In a series of copper plate engravings inspired by those of William Hogarth in the 18th century his 16 plates reflected the experiences he encountered in New York. All his plates would be exhibited in the Benaki Exhibition. Hockney later used this technique in another series of etchings in1969. This time he compiled “illustrations for six fairy tales from the Brothers Grimm”. Although using a similar process to Hogarth he made his prints uniquely his own, with strict attention paid to geometricity and containment. Hockney disregarded the free style of Hogarth and his frequent use of the colour red. In preparation for this series Hockney felt it necessary to read all 350 tales by the Brother’s Grimm, whilst only choosing 6 tales for his work.
Photography
Heavily influenced by Bob Mizer’s Physique Pictorial.
Conclusion
