David Hockney – angielski malarz, rysownik, grafik, fotograf oraz scenograf, którego prace cechuje oszczędność techniki, zainteresowanie problemami światła i zaczerpnięty z pop-artu i fotografii realizm w ukazywaniu zwyczajnych, prozaicznych tematów. W 2012 roku został uhonorowany przez królową Elżbietę II Order of Merit.
Hockney studiował w Bradford College of Art i Royal College w Londynie , gdzie uzyskał złoty medal w konkursie dyplomów. W 1961 odwiedził Stany Zjednoczone, dokąd powrócił w 1964 na trzy lata i gdzie wykładał na uniwersytetach stanowych lowa, Kolorado i Kalifornii, a następnie przebywał na zmianę w USA i Anglii, by w końcu zamieszkać w 1978 roku w Los Angeles. Intensywnie, rażące światło, charakterystyczne dla tego miasta, i "nowoczesna estetyka kalifornijska" wywarły duży wpływ na jego malarstwo.
W pracach Hockneya przeważa tematyka autobiograficzna; najwięcej jest portretów, autoportretów i pogodnych scen kameralnych, których bohaterami są jego przyjaciele i znajome wnętrza . Charakterystyczna dla nich swobodna elegancja i niezmącona świetlistość dominują także w martwych naturach Hockneya. Poszukiwana w zakresie fotografii w latach 80. zaowocowały Autostradą Pearblossom 11-18 kwietnia 1986 i in. fotokolażami. Hockney wydał kilka cykli graficznych w formie albumów, jak np. ilustracje do Six Fairy Tales of the Brothers Grimm i The Blue Guitar . Osiągnął także wysoką pozycję międzynarodową jako scenograf operowy i baletowy. Wydał wiele książek, m.in. Hockney by Hockney , Travels With Pen, Pencil and Ink , Paper Pools , David Hockney Photographs , China Diary oraz Hockney Paints the Stages .
Jest orientacji homoseksualnej. W roku 1966 poznał kalifornijskiego fotografa Petera Schlesingera, wówczas studenta sztuki, który został jego kochankiem oraz ulubionym modelem.
„To bardzo dobra rada wierzyć tylko w to, co artysta robi, a nie to, co mówi o swojej pracy.”
It is very good advice to believe only what an artist does, rather than what he says about his work. <br class="br">Źródło: Paul Melia, David Hockney http://books.google.pl/books?id=D8DnAAAAIAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false, Manchester University Press ND, 1995, s. 44.
Interview with Nigel Farndale, "The talented Mr. Hockney," The Telegraph, (15 November 2001)
2000s
Kontekst: He [Hockney's father] hardly ever left Bradford. He was a member of CND and a socialist with a rather romantic and naive idea of what Soviet Russia was like, all cornfields and ballet. He would have gone mad for email because he was always sending letters to world leaders — Eisenhower, Mao, Stalin — telling them what was what. I think he imagined the Politburo would hold up his letter and say, "Hold everything, Kenneth Hockney has written again!"
Interview with Paul Joyce, New York, (September 1986) quoted in Hockney on Photography, ed. Wendy Brown (1988)
1980s
Interview with Nigel Farndale, "The talented Mr. Hockney," The Telegraph, (15 November 2001)
2000s
Kontekst: He [Hockney's father] hardly ever left Bradford. He was a member of CND and a socialist with a rather romantic and naive idea of what Soviet Russia was like, all cornfields and ballet. He would have gone mad for email because he was always sending letters to world leaders — Eisenhower, Mao, Stalin — telling them what was what. I think he imagined the Politburo would hold up his letter and say, "Hold everything, Kenneth Hockney has written again!"
From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981) , p. 112
1980s
Kontekst: When conventions are old, there's quite a good reason, it's not arbitrary. So Picasso discovered that, as it were, and I'm sure that for him that was probably almost as exciting as discovering Cubism, rediscovering conventions of ordinary appearance, one-point perspective or something. The purists think you're going backwards, but I know you'd go forward. Future art that is based on appearances won't look like the art that's gone before. Even revivals of a period are not the same. The Renaissance is not the same as ancient Greece; the Gothic revival is not the same as Gothic. It might look like that at first, but you can tell it's not. The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be.
“When conventions are old, there's quite a good reason, it's not arbitrary.”
From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981) , p. 112
1980s
Kontekst: When conventions are old, there's quite a good reason, it's not arbitrary. So Picasso discovered that, as it were, and I'm sure that for him that was probably almost as exciting as discovering Cubism, rediscovering conventions of ordinary appearance, one-point perspective or something. The purists think you're going backwards, but I know you'd go forward. Future art that is based on appearances won't look like the art that's gone before. Even revivals of a period are not the same. The Renaissance is not the same as ancient Greece; the Gothic revival is not the same as Gothic. It might look like that at first, but you can tell it's not. The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be.
From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981) , p. 112
1980s
Kontekst: When conventions are old, there's quite a good reason, it's not arbitrary. So Picasso discovered that, as it were, and I'm sure that for him that was probably almost as exciting as discovering Cubism, rediscovering conventions of ordinary appearance, one-point perspective or something. The purists think you're going backwards, but I know you'd go forward. Future art that is based on appearances won't look like the art that's gone before. Even revivals of a period are not the same. The Renaissance is not the same as ancient Greece; the Gothic revival is not the same as Gothic. It might look like that at first, but you can tell it's not. The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be.
Interview with Martin Gayford, " 'Photography is crumbling,' " http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2004/05/18/bahock18.xml The Telegraph, (18 May 2004) <br class="br">2000s
“Teaching people to draw is teaching people to look.”
Interview with Jasper Gerard, "Taking the fight to the dreary people," The Sunday Times (London) (2 October 2005)
2000s
Interview with Martin Gayford, "Hockney and the secrets of the Old Masters" http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2001/09/22/bagay22.xml The Telegraph(22 September 2001) <br class="br">2000s
Interview with Nigel Farndale, "The talented Mr. Hockney" http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2003/11/17/bahock17.xml The Telegraph (15 November 2001) <br class="br">2000s
From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981), p. 207
1980s
Interview with Mark Feeney, "David Hockney keeps seeking new avenues of exploration," Boston Globe (26 February 2006)
2000s
Interview with Lester Strong" 'Love is the only serious subject' " http://glreview.com/13.3-hockney.php Gay & Lesbian Review Worldwide, (May/June 2004) <br class="br">2000s
That's what a reasonable person, a person with good manners, would do.
Interview with Marion Finlay, "Hockney on … politics, pleasure, and smoking in public places," FOREST Online (28 July 2004)
2000s
“All art is contemporary, if it's alive. And if it's not alive, what's the point of it?”
Interview with Mark Feeney, "David Hockney keeps seeking new avenues of exploration" http://www.boston.com/ae/theater_arts/articles/2006/02/26/david_hockney_keeps_seeking_new_avenues_of_exploration/ Boston Globe (26 February 2006) <br class="br">2000s
Interview with Jasper Gerard, "Taking the fight to the dreary people," The Sunday Times (London) (2 October 2005)
2000s
"Portrait of the Artist as a Naughty Boy," interview with John Mortimer, In Character (1983), p. 97
1980s
Interview with Mark Feeney, "David Hockney keeps seeking new avenues of exploration," Boston Globe (26 February 2006)
2000s
Interview with Marion Finlay, "Hockney on … politics, pleasure, and smoking in public places," FOREST Online (28 July 2004)
2000s
“We live in an age where the artist is forgotten. He is a researcher. I see myself that way.”
The Observer (London) (9 June 1991)
1990s
Interview with Nigel Farndale, "The talented Mr. Hockney," The Telegraph, (15 November 2001)
2000s
“How can Blair fight a war on terror? Terror is not an ideology or an army; terror is a technique.”
Interview with Jasper Gerard, "Taking the fight to the dreary people" http://www.timesonline.co.uk/article/0,,2092-1806962,00.html The Sunday Times (London) <br class="br">2000s
"Portrait of the Artist as a Naughty Boy," interview with John Mortimer, In Character (1983) p. 97
1980s
Interview with Marion Finlay, "Hockney on … politics, pleasure, and smoking in public places" http://www.forestonline.org/output/Page264.asp FOREST Online (28 July 2004) <br class="br">2000s
Interview with Paul Joyce, New York, November 1985, quoted in Hockney on Photography, ed. Wendy Brown (1988)
1980s
From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981), p. 185
1980s
