Portraits in charcoal
As Hockney continues to recover in health, he invites close friends and relatives to sit for him in his Bridlington bedroom. In this focused period of drawing with charcoal on paper, he creates touchingly detailed portraits of those near to him.
The Arrival of Spring in 2013 (twenty thirteen)
In late January he ventures out to draw the landscape. After he has made several pictures, he decides that he will stay in England to chronicle The Arrival of Spring in 2013 (twenty thirteen). In May he finishes the 25-part work, remarkable for the use of charcoal alone to capture the changing seasons.
The Chinese say black and white contains color, and so it can. There are five separate views of Woldgate, and with each one I had to wait for the changes to happen. Some were too close to the previous ones and I realized I was being impatient. I had to wait for a bigger change.
Painting portraits in Hollywood
That summer, back in the Hollywood Hills, Hockney returns to a colorful palette and begins painting portraits of friends sitting in the same chair in front of a blue background—its hue recalls his first acrylic paintings in California in the 1960s. The first pays tribute to Vincent van Gogh’s Sorrowing Old Man (“At Eternity’s Gate”) (1890), with Jean-Pierre Gonçalves de Lima posing as that painting’s lone figure, who sits holding his head in his hands. [NESTED]After Hockney has painted three or four portraits, he decides to do an extended series.
I didn’t plan them really. I mean I did once I’d got three done, three or four, but they just grew and that’s what happens to me sometimes.
A Bigger Exhibition
An enormous solo show opens at the de Young in San Francisco in October. It is hugely popular with visitors and a critical success. Roberta Smith writes in the New York Times: “At 76, David Hockney is in one of his primes, and apparently he knows it. Not for nothing is his exuberant, immersive survey at the de Young Museum here cheekily titled David Hockney: A Bigger Exhibition. This sprawling romp through more than 300 works in several mediums and technologies fills 10 often large galleries and yet primarily covers work from the last decade of Mr. Hockney’s 60-year career. It is dominated by radiant landscapes—some the size of murals—of the fields and woods in different seasons of East Yorkshire .... With an emphasis on bucolic farmland that seems very British, they nonetheless convey the grandeur of nature, still the mother of us all, and of all art. And they also confirm Mr. Hockney’s theory that representational painting can tell you more about reality and perception than either photography or the human eye, which is one reason it can still thrill.”
- Drawing in a Printing Machine, Galerie Lelong, Paris, France (Jan 17–Mar 2).
- The Jugglers, The Whitney Museum of American Art, New York, NY, USA (May 23–Sep 1).
- David Hockney: A Bigger Exhibition, de Young Museum, San Francisco, CA, USA (Oct 26, 2013–Jan 20, 2014); catalogue.
- Seven Yorkshire Landscapes, 2011, Los Angeles County Museum of Art, Los Angeles, CA, USA (Nov 3, 2013–Jan 26, 2014).
- The Polaroid Years: Instant Photography and Experimentation, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY, USA (Apr 12–Jun 30), travels to Mary and Leigh Block Museum of Art, Northwestern University (Sep 20–Dec 1); catalogue.
- Resonating Images II, 1950-Now, The William Rolland Gallery of Fine Art, California Lutheran University, Thousand Oaks, CA, USA (Jun 7–Nov 7); catalogue.
- Menagerie – An Animal Show from the Würth Collection, Kunsthalle Würth, Schwäbisch Hall, Germany (Jun 17, 2013–May 11, 2014); catalogue.
- Xerography, Firstsite, Colchester, UK (Sep 8–Nov 10).
- David Hockney: A Bigger Exhibition, de Young Museum, San Francisco: DelMonico, Prestel, and Fine Arts Museums of San Francisco.