David Hockney

A special, fiftieth-anniversary edition of David Hockney’s witty, candid and revealing account of his life and work. David Hockney by David Hockney was first published in 1976 and grew out of twenty-five hours of recorded conversation with the artist. A carefully crafted, collaborative memoir, this special full-colour edition marks the fiftieth anniversary of the book’s first publication. Hockney recounts his early years in Bradford, where he was born, grew up and first went to art school; his years at the Royal College of Art in London, during which he had his breakthrough; his sojourn in California, which inspired some of his best-known paintings, drawings and prints; and his subsequent phase in Paris, where an exhibition at the Louvre established him as a ‘continental master’. The book’s fascination lies not only in the fact that the text is entirely Hockney’s own – so that his life-story is given full clarity – but also that it reproduces his paintings, graphic work and drawings. The story, presented more or less chronologically, is informative and humorous, full of descriptions of his work, anecdotes about himself, other artists and friends, his thoughts about art and his ambiguous relationship with other styles. Above all, it is the story of an artist who is ceaselessly striving to improve his craft and to portray the world around him imaginatively.

A pioneering collector of Cubist art, the English art historian and critic Douglas Cooper was one of the most important—and divisive—figures in the international art world of the 20th century Born into a wealthy family whose money was made in the 19th century in Australia, Douglas Cooper (1911–1984) built up much of his collection of works by Picasso, Braque, Gris, and Léger in the 1930s. He also trained himself to become a respected art historian, his reputation as a scholar resting largely on his catalogue of the Courtauld Collection (1954) and his catalogue raisonné of Juan Gris (1977). He also organised exhibitions of Gauguin, Braque, and two major displays of Cubism. The second of these, The Essential Cubism, co-curated with Gary Tinterow and held at the Tate in 1983, was one of the most remarkable accumulations of Cubist painting, sculpture, and drawings ever brought together. Based on extensive research and packed with new material and fresh interpretations, Irascible focuses on Cooper’s colourful life and significant accomplishments: his financing and directorship of the Mayor Gallery in London as a young man in the 1930s, when he became close to artists such as Francis Bacon, Paul Nash, Henry Moore, Paul Klee, Joan Miró, and Max Ernst; his wartime experiences as an ambulance driver in support of the collapsing French army in 1940; his job as a senior Monuments Man in charge of tracking down Nazi-looted art in Switzerland; his move to the south of France in the early 1950s, taking his collection with him; and his legendary feuds with leading figures and institutions in the British art world. This book is also the definitive account of Cooper’s collecting, art dealing, writing, and curating.

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 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 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.

THE SUNDAY TIMES BESTSELLER 'A burst of springtime joy' Daily Telegraph 'A springboard for ideas about art, space, time and light' The Times 'Lavishly illustrated' Guardian David Hockney reflects upon life and art as he experiences lockdown in rural Normandy On turning eighty, David Hockney sought out rustic tranquility for the first time: a place to watch the sunset and the change of the seasons; a place to keep the madness of the world at bay. So when Covid-19 and lockdown struck, it made little difference to life at La Grande Cour, the centuries-old Normandy farmhouse where Hockney set up a studio a year before, in time to paint the arrival of spring. In fact, he relished the enforced isolation as an opportunity for even greater devotion to his art. Spring Cannot be Cancelled is an uplifting manifesto that affirms art’s capacity to divert and inspire. It is based on a wealth of new conversations and correspondence between Hockney and the art critic Martin Gayford, his long-time friend and collaborator. Their exchanges are illustrated by a selection of Hockney’s new, unpublished Normandy iPad drawings and paintings alongside works by van Gogh, Monet, Bruegel, and others. We see how Hockney is propelled ever forward by his infectious enthusiasms and sense of wonder. A lifelong contrarian, he has been in the public eye for sixty years yet remains entirely unconcerned by the view of critics or even history. He is utterly absorbed by his four acres of northern France and by the themes that have fascinated him for decades: light, colour, space, perception, water, trees. He has much to teach us, not only about how to see... but about how to live.

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

At the beginning of 2020, just as global Covid-19 restrictions were coming into force, the artist David Hockney was at his house, studio and garden in Normandy. From there, he witnessed the arrival of spring, and recorded the blossoming of the surrounding landscape on his iPad, a medium he has been using for over a decade. Working outdoors was an antidote to the anxiety of the moment for Hockney – 'We need art, and I do think it can relieve stress,' he says. This uplifting publication – produced to accompany a major exhibition at the Royal Academy of Arts – includes 116 of his new iPad paintings and shows to full effect Hockney's singular skill in capturing the exuberance of nature.

A SUNDAY TIMES BESTSELLER‘We have lost touch with nature, rather foolishly as we are a part of it, not outside it. This will in time be over and then what? What have we learned?... The only real things in life are food and love, in that order, just like [for] our little dog Ruby... and the source of art is love. I love life.’ DAVID HOCKNEY Praise for Spring Cannot be Cancelled: 'This book is not so much a celebration of spring as a springboard for ideas about art, space, time and light. It is scholarly, thoughtful and provoking' The Times 'Lavishly illustrated… Gayford is a thoughtfully attentive critic with a capacious frame of reference' Guardian 'Hockney and Gayford’s exchanges are infused with their deep knowledge of the history of art … This is a charming book, and ideal for lockdown because it teaches you to look harder at the things around you’ Lynn Barber,The Spectator 'Designed to underscore [Hockney’s] original message of hope, and to further explore how art can gladden and invigorate ... meanders amiably from Rembrandt, to the pleasure principle, andouillette sausages and, naturally, to spring' Daily Telegraph On turning eighty, David Hockney sought out rustic tranquillity for the first time: a place to watch the sunset and the change of the seasons; a place to keep the madness of the world at bay. So when Covid-19 and lockdown struck, it made little difference to life at La Grande Cour, the centuries-old Normandy farmhouse where Hockney set up a studio a year before, in time to paint the arrival of spring. In fact, he relished the enforced isolation as an opportunity for even greater devotion to his art. Spring Cannot be Cancelled is an uplifting manifesto that affirms art’s capacity to divert and inspire. It is based on a wealth of new conversations and correspondence between Hockney and the art critic Martin Gayford, his long-time friend and collaborator. Their exchanges are illustrated by a selection of Hockney’s new, unpublished Normandy iPad drawings and paintings alongside works by van Gogh, Monet, Bruegel, and others. We see how Hockney is propelled ever forward by his infectious enthusiasms and sense of wonder. A lifelong contrarian, he has been in the public eye for sixty years, yet remains entirely unconcerned by the view of critics or even history. He is utterly absorbed by his four acres of northern France and by the themes that have fascinated him for decades: light, colour, space, perception, water, trees. He has much to teach us, not only about how to see... but about how to live. With 142 illustrations in colour

A compact edition of David Hockney and Martin Gayford's brilliant book, A History of Pictures: From the Cave to the Computer Screen features updated material and pieces of art original to this volume. Informed and energized by a lifetime of painting, drawing, and making images with cameras, David Hockney, in collaboration with art critic Martin Gayford, explores how and why pictures have been made across the millennia. Juxtaposing a rich variety of images--a still from a Disney cartoon with a Japanese woodblock print by Hiroshige, a scene from an Eisenstein film with a Vel zquez paint­ing--the authors cross the normal boundaries between high culture and popular entertainment, and argue that film, photography, paint­ing, and drawing are deeply interconnected. Featuring a revised final chapter with additional works by Hockney, this compact edition of A History of Pictures remains a significant contribution to the discussion of how artists represent reality.

‘I won't read a more interesting book all year... utterly fascinating' A. N. Wilson, Sunday Times ‘Enormously good-humoured and entertaining… Hockney asks big questions about the nature of picture-making and the relationship between painters and photography in a way that no other contemporary artist seems to.’ Andrew Marr, New Statesman A new, compact edition of David Hockney and Martin Gayford’s brilliantly original book, with a revised final chapter and three entirely new Hockney artworks Informed and energized by a lifetime of painting, drawing and making images with cameras, David Hockney, in collaboration with the art critic Martin Gayford, explores how and why pictures have been made across the millennia. What makes marks on a flat surface interesting? How do you show movement in a still picture, and how, conversely, do films and television connect with old masters? Juxtaposing a rich variety of images – a still from a Disney cartoon with a Japanese woodblock print by Hiroshige, a scene from an Eisenstein film with a Velázquez painting – the authors cross the normal boundaries between high culture and popular entertainment, and make unexpected connections across time and media. Building on Hockney’s groundbreaking book Secret Knowledge, they argue that film, photography, painting and drawing are deeply interconnected. Insightful and thought provoking, A History of Pictures is an important contribution to our appreciation of how we represent our reality. This new edition has a revised final chapter with some of Hockney’s latest works, including the stained-glass window in Westminster Abbey.

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.

A History of Pictures for Children takes young readers on an adventure through art history. From cave paintings to video games, this book shows how and why pictures have been made, linking art to the human experience. David Hockney and Martin Gayford explain each piece of art in the book, helping young minds to grasp difficult concepts. The book tracks the many twists and turns toward artistic invention, allowing readers to fully appreciate how and why art has changed and includes an illustrated timeline of inventions. Original illustrations by Rose Blake add a personal perspective on a wide variety of images. A History of Pictures for Children will inspire creative minds and help them to understand the legacy of the pictures we see today. The book also includes a bibliography and index. "A brilliant, knockout collaboration--one that will continue to excite, provoke, and engage kids and their grown-ups." --Kirkus Reviews (Starred Review)