18. Francis Bacon, Three Studies for Figures at the Base of a Crucifixion, c.1944, Tate Collection
19. Francis Bacon, Studie naar Velazquez’, Paus Innocent X, 1953, Des Moines Art Center, Iowa
Diego Velazquez, Portret van Paus Innocentius X, 1650, Galleria Doria Pamphili, Rome
20. Richard Hamilton, Just what is it, that makes our todays homes so different, so appealing?, 1956
21. Peter Blake, De ontmoeting (A Fine Day, Mr. Hockney), 1981-83, olie op doek, 58x75, Tate Gallery, Londen
26. Derek Boshier and David Hockney at the Royal College of Art in London, c.1961
27. "At the Royal College of Art in those days, there was a stipulation that in
your diploma show you had to have at least three paintings done from
life. I had a few quarrels with them over it because I said the models
weren’t attractive enough; and they said it shouldn’t make any difference
ie: it’s only a sphere, a cylinder and a cone. And I said, well, I think it does
make a difference, you can’t get away from it.
"Any great painter of the nude has always painted nudes that he liked;
Renoir paints rather pretty plumpy girls, because he obviously thought
they were really wonderful. He was sexually attracted to them and
thought they were beautiful, so he painted them; and if some thin little girl
came along he’d probably have thought, ‘lousy model’. Quite right.
Michelangelo paints muscular marvelous young men; he thinks they’re
wonderful. In short, you get inspired.
34. David Hockney, Man onder de douche in Beverly Hills, 1964, Tate Collection
35. David Hockney, Man onder de douche in Beverly Hills, 1964, Tate Collection
“Beverly Hills houses
seemed full of showers
of all shapes and sizes…
They all seemed to me
to have elements of
luxury…
very un-English that!”
38. 'In Yorkshire was alles zo grijs, geen wonder dat ik pas in Amerika de kleuren
ontdekte', vertelde hij jaren na zijn vertrek in een interview.
‘Toen we over Los Angeles vlogen en ik vanuit het vliegtuigraampje naar beneden
keek, zag ik overal blauwe vlakken die de grond bedekten. Niet veel
later realiseerde ik me dat het zwembaden waren, een 'product' dat in mijn
regenachtige thuisland Engeland een luxe was, terwijl ze in het zonovergoten
Californië op het groene gazon naast ieder minimalistisch wit huis, ondenkbaar zijn.'
39. David Hockney, Peter getting out of Nick’s pool, 1966, Walker Art Gallery, Liverpool
46. David Hockney, A bigger Splash, 1967, Tate Gallery Londen
When you photograph a splash, you’re freezing a
moment and it becomes something else. I realise
that a splash could never be seen this way in real
life, it happens too quickly. And I was amused by
this, so I painted it in a very, very slow way.
David Hockney
94. David Hockney, Portrait of Mother I, 1985, lithografie, 51x44, Tate Collection
David Hockney, Portrait of Mother II, 1985, lithografie, 51x44, Tate Collection
Portrait of Mother III, 1985, lithografie, 51x44, Tate Collection
111. ‘Iedereen houdt van het voorjaar. Alles komt uit en staat
omhoog. Het is alsof de natuur een erectie heeft. Alsof er
champagne over struiken is gegoten!’
David Hockney
132. Frank Stella, Keizerin van India, 1965, 195x569, Museum of Modern Art, New York
Mijn schilderkunst is er op gebaseerd op het
feit dat wat er te zien is het enige is wat er
gezien kan worden’
Frank Stella
133. David Hockney, Tall Dutch Trees After Hobbema (Useful Knowledge), 2017, 163x366,
134. David Hockney, Tall Dutch Trees After Hobbema (Useful Knowledge), 2017, 163x366,
135. David Hockney, Tall Dutch Trees After Hobbema (Useful Knowledge), 2017, 163x366 / Meindert Hobbema, het Laantje bij
Middelharnis, 16.., National Portrait Gallery London
143. Vincent van Gogh, Zittende man op de drempel van de eeuwigheid, 1882, Van Gogh Museum, Amsterdam
Vincent van Gogh, Zittende man (op de drempel van de eeuwigheid), 1890, Kröller Müller Museum, Otterlo