In David Hockney's 1963 painting dramaa painted performer stood on the stage, his face and fleshy face leaning against a plexiglass, mounted on the plexiglass in front of the canvas. It's a funny joke, a good representation of Hockney, now 88, and a very British sense of humor, and a visually impressive example of his tech-savvy (the curtains hanging behind the man look like they're hanging from a shabby wooden board on the realm stage). This is also an early example of artists exploring the “little space between art and life” throughout their lives.
Sixty years later, Hockney has not lost that sense of humor, and the unique style and overwhelming power of a painter, photographer, and creative and eclectic artist has allowed him to explore these spaces so deeply. They are all fully displayed in Louis Vuitton's David Hockney 25, a decade-long retrospective that develops closely with the artist himself and focuses on a certain level on his most recent quarter-century creative output.
On the gigantic glass and metal sailboat designed by Frank Gehry of the foundation’s giant glass and metal sailboat, on the edge of Bois du Boulogne in western Paris, his more than 400 works showcase his dispersion on 11 rooms and three floors, nearly all thematics of Hockney, who explores his work and medium and continues to work.
California Times
In 1964, when he was in his 20s, Hockney first moved to California. He knew “instinctively” that he wanted the place and said on his first flight over San Bernardino that he was “more excited than ever”. It was in California that he would portray some of his most famous and enduring works.
In 1972, Hockney completed Portrait of the artist (swimming pool with two numbers) and Bigger splashboth of which are shown here. First, a truly rendered man, with carefully assembled hair (such as the hero of a romantic novel) kept in front of lush flowing hills, staring at a hazy swimmer's pool whose hazy swimmer's hair tangled in uncertain colors, embodying the colorful body, emitting a luster of ink-painted ink hair, in green green and blue, blue fruit and blue and blue.
In the second scene, the scene is made up of white canvas space, which evokes the “recently launched Polaroid format”. The only movement is the splash of the title. Behind it, a flat California pool scene casts slim shadows and highlights bright colors with the brightness of the sun jumping from the top of the head.
Then there is a splash on the center of the painting: in a dense mutation on the left side of the splash, small white dots like galaxies, and spotted white “w” flew into the space between the two like birds. A Frenchman looked at the painting on a June afternoon in June, and a Frenchman smiled and said, “Trees climax.” But there are also: volcanic explosions, electricity, dove wings. It's so clean, so California, and it feels like a lazy West Coast summer. “Biggrification means the size of the painting, not the splash,” Hockney noted.
In the late 1990s, Hockney returned to the United States. Here, his skills as an overwhelming, imaginative landscape painter are exhibited at the height of his power A larger canyon (1998). Below the horizon, the pool of dots of color is collected at the bottom of the canyon – black green, light green, orange – like magma. The orange rock spoils onto the right third of the canvas until it explodes into purple, green and bright violent dots of polka dots.
The wavy branches on the trees are a recurring Hockney logo, posing skillfully and outlined by defined color highlights, giving them a scattered sculptural look. But step back from the canvas, the details look more solid and cohesive, blending into the dense impression somewhere between memory and desire. (I've never seen my own eyes see the Grand Canyon, but in front of the Hockney canvas it feels like me.)
Yorkshire Times
Most of the exhibition is focused on Hockney’s time in Yorkshire. After his mother's death, Hockney returned to his homeland and, starting in 2003, spent ten years capturing the hills, hills and trees in the countryside.
Larger trees closer
As your eyes forked along the pink road from the bottom of the 3 x 3' canvas along the forest side, it feels motion in the stripes of overwhelming colors, forming the road to the left.
On the other side of the room, there is another version Larger trees closer
iPad painting
The exhibition also includes Hockney's iPad paintings, which he often uses to capture the quick, immediate impression of his attention. But many people show on flat paper that while they have all the compositional creativity I love in Hockney, there is something missing in it. When you see them appear on the screen, you immediately notice what is missing from the simulated form in them. The light of the screen brings out the life Hockney saw behind the color when he first painted.
Artful Lighting brings this effect in the lunar room, and images of Hockney’s Christmas tree from December 2020 seem to spill over prints. The room darkens, diffuse beams of light fall on the moon's light, or window lights overflow on the grass, or dark fir on top of Christmas stars. They pulsate and shine.
One of the most impressive digital works on display is la pluiea video installation, showing an animation pouring rain in the foreground of Shuikou country scene. It was a four-minute ring coated onto the iPad, and the movement of the rain captured the missing texture in the printed computer image.
la pluie Capture the sultry heat of the growing rain. The shimmer and rays of light from the streaks of raindrops are reflected in the glimmer and light that refracted from the stripes of raindrops, just as they fell on the windows we looked at, mimicking the way light was applied when it was applied. June I went to the gallery for June, the soft sound of rain on the glass ceiling paired with a very pleasant effect and you will find yourself sitting there for a long time.
David Hockney Today
French historian René Grousset once described civilization as “partial technological progress and part of spiritual progress.” Hockney's work has evolved in a similar way over the years. dementia Secret Knowledge: Rediscovering the lost technology of the old master. The book is stuffed with the results of Hockney's years of research on optical witchcraft on these painters, where he details his theory on the lens, and he speculates on some painters, such as those used by Caravaggio, and his own worthy attempt to reproduce the examples of these masterpieces.
At the end of the exhibition, at one of the culminations of the gallery, there is a room that shows Hockney in conversation with some painters of all ages.
This room shows the depth of Hockney's reference and influence – here we discover his entertainment on the Flemish masters, his views on Picasso's Korean Holocaust, Van Gogh's chairs and sunflowers' paintings. Hogarth's weird stylized dreamy landscape captures Claude Lorrin through Hockney's eyes Bigger information (2010).
In addition to all the references that Hockney has perfectly crystallized here, we have Hockney’s clear style. For typical slices, see Books and rain (2023). Borrowed from Hockney himself, red and green screamed a warm wall in the painting, wrapped around the rain-soaked window frame. Below the window is a small table covered with a simple blue inspection cloth, and the two books on the two piles of tables are a perfectly charming and evocative country house scene.
You can also see it in a joyful self-portrait in one of the last rooms displayed, Hockney sitting in the garden with waves of trees and rolling blue sky and his loud colorful checkered suit, painting with one hand and smoking with the other.
On his knees, he is painting the same scene we are looking at, he is painting the same scene we are looking at, he is painting the same scene we are looking at. Called Playing football in the drama, I play with cigaretteshe completed painting this year. When it comes to Hockney, one thing we can only predict easily: He will remain inevitable prolific, and there will always be more art.
“David Hockney 25Louis Vuitton was always in the eyes of people until August 31, 2025.
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