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David Hockney: A Bigger Picture

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My filming between 2004 and 2009 – in Yorkshire, Los Angeles, London and Germany – led to A Bigger Picture, one of the few documentaries that captures a master at work (now available to stream here for the first time). Do you accept link requests or guest post articles? Unfortunately no, the MoMa to-do list already overfloweth. The gallery full of hawthorn blossom is an exception. Look at these images in reproduction, on a tiny scale in the comfort of your own home, and they may well appear absurd, the white hawthorn bursting out in great maggoty slugs, the shadows making glove puppet bunnies. But in the gallery, and almost lifesize, they are marvellous transformations: the alien blossom rampant in its outburst, the shadows on the hot lane bristling like cacti in the desert. They are like late Philip Guston in their coining of strange new forms and sheer force of personality. Whether you’re looking to buy art online or seeking info on selling your work or art competition dates MoMa’s a good place to be.

David Hockney: A Bigger Picture – review - The Guardian

So that is an advance on the past of a sort. And for such a restless innovator, so mindful of art history in everything he makes, this is surely a necessity. To take up a genre beloved of old and modern masters, Sunday painters and about half the entrants to the Royal Academy show every summer is to join a tradition. The question is what to make of it in personal and aesthetic terms, how to renew it.A steady supply of Valium would have been useful. I had done one other evolving film project called “ Portrait’ with my brilliant editor and collaborator Chris Swayne, about the making of an official portrait by Tom Phillips for The National Portrait Gallery of its outgoing Director Charles Saumarez-Smith. But at only 50 hours of footage and essentially describing a series of portrait sittings over 9 months, it was altogether a more easily manageable proposition. For a start a linear narrative was a given. The 120-plus hours of video for ‘A Bigger Picture’ were too much to hold in one’s head, and additionally there were so many different possible stories and approaches to that material. We were drowning in all the films it could be. The cover art of the Mr. Oizo album Stade 2, by the artist So Me, is a deconstructed reinterpretation of Portrait of an Artist (Pool with Two Figures). [21]

David Hockney: A Bigger Picture - IMDb David Hockney: A Bigger Picture - IMDb

Las 10 exposiciones más votadas por los críticos de arte | Cultura | EL PAÍS". Cultura.elpais.com. Archived from the original on 31 December 2012 . Retrieved 15 August 2013. Please support DH80 by making a small donation to this resource, spreading the word online...or even both! So it feels pointless, after a while, to look for an ominous pressure of heat or even a particular kind of tree. There is no underlying metaphor or building emotion, no sense of awe or melancholy or even much amazement. It is all things bright and beautiful all the time, with the possible exception of solitary stumps in winter clearings. a b 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–" . Retrieved 28 May 2023.

Forgotten the title or the author of a book? Our BookSleuth is specially designed for you. Visit BookSleuth A detailed discussion of this picture, by a member of the Tate Gallery's Conservation Department, is to be found in Completing the Picture (op.cit.). Part of it was based on written replies by the artist to a questionnaire. Extracts from this essay concerning the painting's style and subject matter, but also to a certain extent the techniques employed, are reprinted below. Certainly David never stands still. He also actively likes the battle with a medium and its limitations. One of my favourite phases of his art were the paper pools, a medium that was probably the most tyrannical of any of the many he’s taken on, involving the moulding of coloured paper pulp into one-off images. The iPad has been the source of an incredible volume of great images and as vivid as so many of them are, my only doubt is that the medium offers too little resistance. I expect to be proved wrong. Soft cover. Condition: Fine. 1st Edition. Book is in fine condition. Excellent. Large format. 303pp with colour illustrations. Also included is 'An introduction to the exhibition for Teachers and Students' 24pp booklet.

A Bigger Splash - Wikipedia A Bigger Splash - Wikipedia

Craigie Aitchison – Two important exhibitions overlapped recently in England: the first was in Kendal, in the English Lake District, and the second at the Royal Academy in London. David insisted I filmed single-handedly, so there’s an intimacy and clumsiness to these recordings, something I echo in my commentaries to the films. In 2011 there was a wonderful spring, and I had planned to record it,” he explains. “We got marvellous snow, the spring was early and we were ready for everything. I had begun drawing the changing scene on the iPad in the New Year, then, when I’d printed out five or six iPad drawings on a big scale, I began to realise, my God, you could do the whole room with this method. And he cannot stop, cannot keep still. There is not just Yorkshire to get down, but the seasons as well. A wall of sweet midsummers followed by a wall of yellow harvests followed by felled logs in autumn and bare glades in winter. A nice spot of painting in the sun (it never rains) and then home to tea; it sometimes feels as complacent as it looks. The workshop, led by Óscar Ciencia, showed how to work with an iPad, for artistic creation and graphic entertainment.On each viewing I’ve come away with something new and different from the film. At that level I remain pleased with it: there are enough layers for unexpected elements to spring to the surface. I’m certainly proud I finished it, that it has a coherence and integrity, and does justice to the subject. How they are made – this kind of mark, that variation on Van Gogh, those Fauve-bright colours or stylised cut-outs or vast, multi-panel grids – these are the constant focus, much more than the landscape itself. Every work compares with another and each has its alibi in the whole. It is one enormous study in comparative methods. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC. Gift of Joseph H. Hirshhorn, 1966

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