Met Rob en Olga bezocht op woensdag 8 mei 2019 (Voor Olga’s 60e verjaardag).
For the first time, this spectacular exhibition offers an extensive and colourful exploration of the common ground between the work of Vincent van Gogh and David Hockney. The exhibition ‘Hockney – Van Gogh: The Joy of Nature’ is now on view.
The world-famous art of David Hockney (1937) is colourful and colossal. Hockney is inspired by nature, he makes use of bright colours and experiments with perspective. Van Gogh also dealt with this. The resemblances between the two artists are no coincidence. Vincent van Gogh was a great source of inspiration for David Hockney. Discover more parallels in the exhibition Hockney – Van Gogh: The Joy of Nature.
Tekst van David Hockney over fotografie en schilderen.
Met fotografie kijk je niet echt … schilderen
Wiki – David Hockney – Wiki – David Hockney
Wiki – David_Hockney (1) – Wiki – David_Hockney (1)
In the early 1980s, Hockney began to produce photo collages—which in his early explorations within his personal photo albums he referred to as “joiners”—first using Polaroid prints and subsequently 35mm, commercially processed colour prints. Using Polaroid snaps or photolab-prints of a single subject, Hockney arranged a patchwork to make a composite image. Because the photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, one of Hockney’s major aims—discussing the way human vision works. Some pieces are landscapes, such as Pearblossom Highway #2, others portraits, such as Kasmin 1982, and My Mother, Bolton Abbey, 1982.
Creation of the “joiners” occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses. He did not like these photographs because they looked somewhat distorted. While working on a painting of a living room and terrace in Los Angeles, he took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. On looking at the final composition, he realised it created a narrative, as if the viewer moved through the room. He began to work more with photography after this discovery and stopped painting for a while to exclusively pursue this new technique. Frustrated with the limitations of photography and its ‘one eyed’ approach, however, he returned to painting.