Kirjahaku

A collection of legendary British artist David Hockney’s insights into art, life, nature, creativity and much more. ‘I’ve always been a looker ... that’s what artists do’ This anthology of quotations by David Hockney follows in the successful format of ‘The World According to’ series. Ranging across topics including drawing, photography, nature, creativity, the internet and much more, The World According to David Hockney offers a delightful and engaging overview of the artist’s inimitable spirit, personality and opinions. From everyday observations – ‘The eye is always moving; if it isn’t moving you are dead’ – to artistic insights such as ‘painted colour always will be better than printed colour, because it is the pigment itself’, as well as musings on other image makers, including Caravaggio, Cézanne and Hokusai, Hockney has a knack for capturing profound truths in pithy statements. Born in Bradford, England, in 1937, Hockney attended art school in London before moving to Los Angeles in the 1960s. There, he painted his famous swimming pool paintings, and since then has embraced a range of media including photocollage, video and digital technologies. In a 2011 poll of more than 1,000 British artists, Hockney was voted the most influential British artist of all time. Presented as a beautifully designed and attractive package, illustrated with works of art from throughout Hockney's career, this is the perfect gift for art lovers everywhere.

'A charming collection … an essential book for the dachshund or Hockney lover' Mail on Sunday 'Hockney's usual brilliant eye for colour is ever present' The Times 'Lovely … sure to delight both dog lovers and David Hockney fans. 10/10' Your Dog David Hockney introduces his two dachshunds, Stanley and Boodgie, in this delightful collection. The result of sharp observation and affection, these paintings and drawings are lyrical studies in form and design while the text by the artist gives a glimpse of how to work with models who don't necessarily want to sit still. From September 1993, I painted and drew my dogs. This took a certain amount of planning, since dogs are generally not interested in Art (I say generally only because I have now come across a singing dog. Food and love dominate their lives. I make no apologies for the apparent subject matter. These two dear little creatures are my friends. They are intelligent, loving, comical and often bored. They watch me work; I notice the warm shapes they make together, their sadness and their delights. And, being Hollywood dogs, they somehow seem to know that a picture is being made. - David Hockney

'A compelling narrative of the workings of a curious, intelligent, visually inventive mind at work' - Art Quarterly 'From between the covers springs all the brightness and energy of the prolific output of this most exuberant and yet sensitive artist' - The Times 'For anyone with even the smallest regard for the artist, this is the book to have … a treat' - Artists & Illustrators The story of David Hockney, one of the most widely acclaimed of all living artists, is one of passion: passion for seeing, passion for telling, passion for images. But to these should be added passion for life. Hockney's art is a celebration of what it is to be alive. All his pictures - sometimes tender, as when he draws close friends and family; sometimes playful, as in his paintings of lazy, carefree days at the pool; sometimes awe-inspirin, as with his monumental images of the Grand Canyon - convey what it means to be in the world, to see it, to move in it, to love it. This constant exploration of how to communicate such feelings through art emerges with particular clarity in this stunning, lively volume, which charts almost fifty years of extraordinary creativity. Hockney's Pictures is the first definitive 'retrospective' to show the evolution and diversity of Hockney's prolific paintings, drawings, watercolours, prints and photography. The works, including many that are new and never published, have been selected and organized by David Hockney himself, and track his lifelong experiments in ways of looking and depicting.

A celebration of sixty years of extraordinary creativity. 'A compelling narrative of the workings of a curious, intelligent, visually inventive mind at work' Art Quarterly 'From between the covers springs all the brightness and energy of the prolific output of this most exuberant and yet sensitive artist' The Times The story of Hockney is one of passion: passion for seeing, passion for telling, passion for images. But to these should be added passion for life. Hockney's art is a celebration of what it is to be alive. All his pictures – sometimes tender, as when he draws close friends and family; sometimes playful, as in his paintings of lazy, carefree days by the pool; sometimes awe-inspiring, as with his monumental images of the Grand Canyon – convey what it means to be in the world, to see it, to move in it, to love it. This constant exploration of how to communicate such experiences and perceptions through art emerges with particular clarity in this visually dense volume, now updated with a new final chapter that focuses on his prolific recent work in series across various media, including the iPad. Charting almost sixty years of extraordinary creativity, the book is arranged thematically to show the evolution and diversity of Hockney’s prolific paintings, drawings, watercolours, prints and photography. It also features quotes from the artist that illuminate the passion and deep thought behind his work. Hockney's Pictures celebrates the artist's lifelong experiments in ways of looking, seeing and depicting.

A revised edition of the influential artist's controversial analysis of alleged technologies used by such masters as Caravaggio, Velzquez, and da Vinci presents a case that they used mirrors and lenses to create highly detailed and realistic works of art. Reprint.

Taking the thesis - that some of the masterpieces of Western art were created using optical devices - further in light of fresh discoveries, the author demonstrates how Renaissance artists used mirrors and lenses to help them develop chiaroscuro, perspective, and the arts of depicting three-dimensional space and forms.

Peter Blake (b. 1932) has remained constant and groundbreaking in his exploration of the medium of collage throughout his career spanning seven decades. Most recognised for his iconic 1967 cover for The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album, Blake already understood the potential of collage as an art form as a student at the Royal College of Art in the 1950s, where his reputation as a founder and key proponent of the Pop Art movement was established. An avid collector, Blake’s collages combine junkyard treasures and found objects with images from popular culture. He revisits themes drawn from his childhood – the entertainments of the circus, the glamour of the cinema and the showmanship of the wrestling ring – weaving detailed, often humorous narratives. From his early paintings depicting assembled fragments of popular imagery, to his found-object constructions and his most recent inkjet print collages, Blake has broadened the scope of what collage can be and communicate. Peter Blake Collage provides the first comprehensive survey of Peter Blake’s work in the medium. It features a foreword by David Hockney, an essay by Patrick Elliott, Chief Curator of the Scottish National Gallery of Modern Art, Edinburgh, a recent interview with Peter Blake by Natalie Rudd, Senior Curator of the Arts Council Collection, over 250 colour reproductions and a newly compiled illustrated chronology. Published in partnership with Waddington Custot.With over 250 illustrations

In recent years David Hockney has returned to England to paint the landscape of his childhood in East Yorkshire. Although his passionate interest in new technologies has led him to develop a virtuoso drawing technique on an iPad, he has also been accompanied outdoors by the traditional sketchbook, an invaluable tool as he works quickly to capture the changing light and fleeting effects of the weather. Executed in watercolour and ink, these panoramic scenes have the spatial complexity of finished paintings - the broad sweep of sky or road, the patchwork tapestry of land - yet convey the immediacy of Hockney's impressions. And as in the views down village streets and across kitchen tables that appear alongside them, his rooted and fond knowledge of the area around the East Yorkshire Wolds is always clear. If you know the region, the location of the sketches is unmistakable; if you don't, its features will come to life in these pages.

The fairy tales of the Brothers Grimm according to David Hockney are like no other version you will have read before. Although inspired by earlier illustrators of the tales, from Arthur Rackham to Edmund Dulac, Hockney's extraordinary etchings re-imagine these strange and supernatural stories for a modern audience, capturing their distinctive atmosphere in a style that is recognisably the artist's own. Reprinted for the first time since its original publication in 1969, Hockney's book brings together some well-known tales - Rapunzel, Rumpelstiltskin - with others that are less familiar. Informed by great art of the past, attuned to idiosyncrasies of character and incident, and fresh in execution and content, his illustrations invite us to read each one as if for the first time.