It Is Its prepaid Rosenthal, 80. Theme? Hockney Has Scrawled in Pink Across the Building’s Facade “Do Remember, They Can’t Cancel the Spring”.
But the Real Subject Is Own Distillation of One of the Most Belouved Oeuvres in Postwar Art.
David Hockney 25 Features Abundant Renderss of the Seasons in YorkHire and Normandy Made this Century-Best Are the Surrealist-Pointillist Magnified Natural Forms As Explosive Sports of Paint. “The Big Hawthorn” and “May Blossom on the Roman Road”, and the Beaming, Simplified Yellow/Magenta “Winter Timber” – but it is a Retrospective, Unmissable As a Roll Call of 1960-90 icons.
American Freedom and Hollywood Hues Surge in “A Bigger Splash” and “Pacific Coast Highway and Santa Monica”. Adolescle Awakens to Its Own Desirbility in “The Room, Tarzana”, afternoon light pouring on semi-nude peer schoolsiner. Proveençal Tristsse Suffueses “Portrait of an Artist (pool with two Figures)”, Schlesinger Surveying a Swimmer in Hookney’s Translatent Blue – AT $ 90Mn, The Most Expective Painting by a Living Artist at Auction.
The newest Painting is “Play with a Play with a Play and Me with A Cigarette” (2024-25), Hockney’s Head Frad by a Bare Twisting Tree As He Sits, in Tweed Suit and Round Glasses, Painting HimSelf Among Sketchily Notted Dafodils and Irises, Spring’s Harbingers. This Self-Portrait Looks Back to “Play Within a Play” (1963), Deppinging Hockney’s Jettery Dealer John Kasmin Throwing Up His Hands, Trapped Behind A Sheet of Plexiglas Nailing to A. Painting of Totem Figures and TAPESTRIES. It is in convey connects to the marvellous early status-set passtures whin the show.
Greeting you at the Start Are the UncleNY Pair “The First Marrayage (A Marriyage of Styles I)” (1962), Pinstriped HusBand Acompanying Wooden Sculpture, and “The Second Marrayage” (1963), Exceptionrally Borrowed from Melbourne: A Shaped Canvas Boxing in a FuneEAl BRIDE, Egypt Mummy Face, Black Stilettos, on a Sofa With Her Realistically Depicated Suied HusBand, Freamed by a Curtain. They Herald the Witty Push-Pull Between Artifice and Crystalline Realism that Defines Mature Hockney: EffortsLE Accessible, Yet Serously Engaging As a Sophisticicated Creator of Pictorial Worlds.
No Expective or Persuased Has Been Spared to Bring to Paris Key, Far-Flung Pictures Abse from Tate’s 2017 Retrospective. “A Bigger Grand Canyon” (1998), The 60-Part Cubist-Derived Multiple viewoints immersing us in seven metres of Glowing Gold, Crimson and Vermilion, Visits From Canberra: A GRIPPING Tension Between Painterline and Design, Voluptuous Color Improbly Meeting Modernism’s Geometric GRID.
Fresh to Eurobean Audiences Will Be “Adhesivenes” from Fort Work, Two DubFFet-Inspared Graffiti Blocky Figures in the 69 Position; This and oslo’s “Two Men in A Shower” are the most explicit examps of holey’s Daringly Origel.
Hockney HimSelf Got on the Phone to Secure Lisbon’s SELEDOM LOANED, Pivotal “Renaissance Head” (1963): With trendous gestural freedom, Yet Drawn With Linear Precision. Its Cool Styllisation and Ambiguity Anctipate Hockney’s Laconic Double Portraits, Both Lesser-known Surprises-“Henry and Raymon”, Curator Henry Geldzahler and WRIRER RAYMOND Foye in Energetic Conversation Against a Loose Abstract Ground – and Celebrities.
“Christopher Isherwood and Don Bachardy”, Remote Behind A Table Laid With PhALIC BANANA and CORN COB, and Textile Designer Celia Burtwell and Ossie Claark Languidly UnhaPPY in the Picure-Perfect 1970s interior “ Style, Individality.
Ascing “Celia in Stripes” and “Celia in Black Dress” Hang in a Gallery with Jean-Pierre Goncalves de Lima and Referering Matisse’s “Young Sailor”. Such Later Works Lack Hockney’s 1960s-70s Edgy Brilliancy, but their warmth and facility still please. HIS BIRTWELLL Embodies Swinging London and Graceful Ageing. That is the Bottom Line: “I Make Images.
The Vuitton’s Flow of Monumental Galleries Plus Compact Spaces Give Hockney The Master of Special Full Scope With Overwhelleling Smaller Works. OPERA ResONDS from the Top Floor Installation of Film Rendings of his Stage Sets: The Dynamically Cross-Hatched “Rake’s Progress”, The Blue China “Le Rossignol”, “Tristan Und” Isolde «s vast swaying ship. It is intoxical and English, but as potant are the intimate, Unknown Charcoal/Crayon Portraits from 2018-19. Hockney’s Touch Is Light and Sure AS Ever, Sympathetic Equallly to teenage empty Identity – Serious “Ruffus Hale” in Opulent Green Armchair – and Old Age’s Stublen Resignation and interiority: Picasso’s Biographer John Richardson, 94, A Massive Slumping Presance.
Youth and Age, Memory and Desire, Time Lost and REGINED, are the threads unital a very clear show; In the Superb Catalogue Co-Curator Suzanne Pagé Notes that if Hockney Expresses The Childlike Wonder of The Little Prince,
In “FLIGHT INTO ITALY-Swiss Landscape” (1962) Hockney Lurches in the Back of a Car Hurtling Along a Map-Like ALPINE ROUTE. That open Road Spirals Past Waterfalls in Luscious Fauvish Pigment, Straight from the Tube, in “Nichols Canyon” (1980), and a Juice Purple Streak Bounds Download Patchwork Fields in “Garrowby Hill” (1998). California’s Wide Vistas Inform Yorkshire’s Zen Normandy’s, Depetted from the Home Hockney Acquire the 2019. when Il Health Forced Him to Relocate to London in 2023, Normandy BECAME ATOTER Remembrered Eden, Though He Opens This series comical, with and Animated iPad Drawing of Incesant Rain.
Lackadaisical or Ironic Titles-“LOTS of Blossoms on Trees”, “Smaller Splashes”-Imply Hockney Knows The Norman Painments and iPad Sketches Are Faux-NAïF, Easy Codas To His Life-LONG LUCIDLY OBLLIENTLY Heightned Realism. But Still He Remains in Dialogue with French Painting’s SuPreme Hedonists. “Giverny by DH” OPENS OT MONET’s POND INTO A Diagram of Curling and Massed Reflections of Trees and Clouds, Lilies AS Yellow Blots, Recalling also Matisse’s response to Giverny, the Abstracting Flattened “Garden at Isy”.
And among Hockney’s iPad Animations Are 12 Panels Deppinging Normandy Through The Seasons, Dawn to Twilight, Which Unite Finally INE One Sunburst Image Captioned and Titled with A Quotation From La Rochafoucault, “Remember You Cannot Look at the Sun or Death for Very Long”.
To August 31, Fondiationlouisvuitton.fr
The Pleasure-Giveing, Life-Affirming Art of David Hockney
Simon Schaama on How Britain’s Most Popular Living Painter Has MainTained An UNFASHIONALLE Comitment to Optical Delight
