Inspired by Paul Cézanne’s group of paintings titled The Card Players (1890–95), Hockney paints several multi-viewpoint images of that scenario; however, his models are seated at a table rendered in reverse perspective. Next, using digital software, he creates a photographic drawing of the same models seated in the studio with his painting of them, Card Players #3 (2014), alongside his iconic photographic collage, Pearblossom Highway (1986), on the wall behind them. The different elements of the photographic drawing are individually photographed and then collaged using Photoshop to create a picture with many perspective points. In the Financial Times, Francis Hodgson writes: “Hockney isn’t trying to kid us: he leaves the traces of his multiple-angled gaze fully visible. A face is perfectly sharp, seen from close. But so is the carpet four or five feet lower. The lines on a floor move in several different directions, as they really do as you move over them. In life, we move our eyes to acquire the information that the brain processes into a ‘view.’ That’s what Hockney has done.”

By year’s end, Hockney completes 27 more portraits of individual sitters for his series begun in 2013, which now includes more than 60 paintings. He also returns to painting his Los Angeles home and garden.