David Hockney

The inspiration of an essential 1960 exhibition of Picasso's jobs led Hockney to attempt daring combinations, in your young artist, wherever he not merely "[took] up a number of styles in different pictures, but within 1 painting move[d] freely from a single mode to another" (Livingstone 41-2). As Hockney himself said, "I deliberately set out to prove I could do four totally a variety of varieties of pictures like Picasso" (quoted by Fineberg 241). Picasso's death in 1973 brought about a shift in Hockney's direction as he began work on paintings and prints that had been a tribute and an exploration of Picasso's late style. In the previous period Hockney were investigating the possibilities of Realism and also the a couple of crayon drawings Celia inside a Black Dress with White Flowers (1972) and Celia Wearing Checked Sleeves (1973) are from that era. Even in that period, especially inside the second drawing, the influence of Picasso is clear. The almost monumental high quality of Celia's head and the classical appearance from the hair recall Picasso's late concentration on simply-drawn classicized women.

But Realism also "favors a persistent, even delirious embrace of the world as constituted, though usually attuning itself towards endless necessity for modification of traditional doctrine and practice" (Knight 23).


These drawings also lend themselves towards the acquisition of perceptual skills. As Southworth explains, one of the very best ways of integrating art instruction into the curriculum is to procedure all instruction -- in literature, history, art or any subject -- inside angle of secondary perception. Principal perception consists of how the person sees the world but secondary perception consists of "what the spectator sees once he/she looks at the landscape as painted by Constable, or videoed to accompany a pop music record, or juxtaposed with a solution somebody is selling" (Southworth 142).

The flowers are silhouetted against the sitter's black jacket. They have so significantly pink in them that their description as "white" seems somewhat off. But their effect against the jacket isn't just to location it in the background. They also diminish its overwhelming effect and reduce it to a supporting role within the display of her head. Without having being relieved by the flowers the jacket would draw all the attention to itself.

Livingstone, Marco. David Hockney. 2nd ed. New York: Thames and Hudson, 1988.

In the very first drawing, Celia inside a Black Dress with White Flowers (1972), the artist has employed a rather unusual arrangement of things that seems, at first, to reduce the sitter's significance in the picture. But careful analysis of Hockney's compositional method demonstrates his good skill in putting togther the parts of a picture in unexpected ways. The picture may perhaps appear, at first, being a jumble of warring points but it simply resolves itself into a sharp portrayal of an individual human being.

The vase of tulips that may be positioned from the foreground to the proper with the picture looks to compete with Celia for the viewer's attention. The a couple of tulips fall in front of her chest and shoulder, placing her at a higher distance within the viewer -- isolating her inside a background space.

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