I was interested in connecting David’s claustrophobia to the making of landscape pictures on a huge scale, for example the 1998 Grand Canyon paintings (and earlier still the 1980 ‘Mulholland Drive: Road to the Studio’). The size of the Yorkshire paintings also grew out of his determination to paint in a freer and looser style, plus a more practical consideration. The invitation from The Royal Academy in 2007 to mount a solo exhibition for 2012 was an opportunity to fill those large, grand rooms with work that would measure up to those spaces. The vast ‘Bigger Trees near Warter’ he made for the 2007 Summer Show was both a dry run and a demonstration.
His love of space seems to go hand in hand with an almost mystical approach to the picturesque. Whether the terrain is carved out by the great geological forces in the American West or sculpted by the landowners of East Yorkshire, in David’s eyes some advance preparation has taken effect, allowing him to channel the landscape and bend it to his individual vision - and better still if the subject has escaped or eluded prior description and investigation, so he can invent or re-invent from new.
and better still if he can invent or re-invent from new, if the subject has escaped or eluded prior description and investigation.
The unexpected kinship he sees between The American West and East Yorkshire is further explored in 72/80. See also 11/80.
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This video is an outtake from David Hockney: A Bigger Picture, an award-winning documentary by filmmaker Bruno Wollheim.
Watch the full film here: vimeo.com/2248...
Filmed over three years with unprecedented access, A Bigger Picture captures Britain’s most beloved painter at work. David Hockney’s return from California to paint the East Yorkshire landscape of his childhood - outside, in all weathers, through the seasons - culminates in the largest picture ever made outdoors. It’s an inspiring story of a painter in creative dialogue with nature and photography, and a revealing portrait of Britain’s most popular and celebrated artist.
“This wonderful film … will be of lasting importance for future generations who want to understand Hockney’s art.” Saturday Review, BBC Radio 4
“Bruno Wollheim’s portrait of this forthright magus is an unqualified, life-enhancing joy from start to finish.” - The Sunday Times
“This film may well be the best anyone will ever make about Hockney’s process.” - The Times, London.
“As gently hypnotic and fulfilling as one of Hockney’s own works.” - Time Out
“This impressive documentary is almost cinematic in its scope… both majestic and intimate” - The Observer
Watch the full documentary here: vimeo.com/2248...
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