The exhibition at the Pompidou Center opens with paintings by young Hockney, created while studying at an art college in his native Bradford. The images of industrial England testify to the influence on him of social realist teachers, members of the so-called "School of kitchen sink."
At the Bradford School of Art and the Royal College of Art in London, Hockney discovered and absorbed English abstract expressionism, presented by Alan Davy. In Jean Dyubuffe, he found a style that corresponded to his aspirations for expressive and accessible art, and in Francis Bacon - the courage to designate the topic of homosexuality. Finally, Picasso's work convinced him that the artist should not be limited to one style. One of Hockney's early exhibitions was called "Demonstration of universality"
Left: David Hockney, "Self-Portrait" (1954). Private collection
Referring to cubism once again, Hockney, using the Polaroid camera, created the so-called “unions” - the representation of objects with the help of several connected images. These include, for example, “Highway Pearbloss, April 11-18, 1986” from more than a hundred photographs taken from different angles.
“Art should move you, but design should not. Is that a good design for the bus "© David Hockney
In 1997, Hockney returned to rural North England of his childhood. His landscapes reflect his complex rethinking of the issue of space in painting. Using high-definition cameras, he also brought movement into the cubist space of his Polaroid "associations", combining video screens to create a cycle of four seasons.
Left: David Hockney, Canyon Nichols (1980). Private collection