If I may, I’ll answer this digressively, because the making of the film and what has happened to it subsequently has been so unusual. Organized by the Royal Academy of Arts, London, in collaboration with the Guggenheim Museum Bilbao and the Museum Ludwig, Cologne, David Hockney: A Bigger Picture is the first major exhibition held in Spain to celebrate the crucial role landscape plays in the career of this artist, considered the most important living British painter. So for instance in my David Hockney: Double Portrait, the double interviews suggested a quite formal film around body language. He created his first opera design in 1975 for Igor Stravinsky’s The Rake’s Progress (1951)—see image of one of the original models (ink and photography on cardboard). Hockney found the spectacle of the changing seasons fascinating, and decided to start working on the landscape of the Yorkshire Wolds, near his house in Bridlington (a comfortable base which was once a small hotel).

David Hockney A Bigger Picture award-winning documentary

In artistic terms Hockney’s experimentation and enthusiasm for technology (from photography to the iPod) is given full rein, and he emphasizes the importance of his doing it himself. Published by Royal Academy of Arts in 2012, to accompany an exhibition that took place at the same venue (21 January-9 April 2012) before shifting to the Guggenheim Museum, Bilbao (14 May- 30 September 2012) before finishing at Museum Ludwig, Cologne (27 October 2012-4 February 2013), here is the first softback printing of DAVID HOCKNEY R. Of course the Ipad had immense practical advantages: it was light and portable, it offered a huge variety of mark-making – and having already done a stream of images on his iPhone, using the same Brushes software, the iPad was manna from heaven, and on both he could work in low light. nbsp;

Hockney moved to Los Angeles in 1963 and began producing highly evocative, sometimes homoerotic, iconic images of urban life, often featuring friends, assistants or lovers.Mehr als 150 seiner Landschaftsbilder sind in diesem Jahr zunachst in der Royal Academy of Arts in London ausgestellt. The nine cameras make up a more ‘fluid lens’ which creates a picture more like the world as we actually see it. The image is derived in part from a photograph Hockney discovered in a book on the subject of building swimming pools. The surface of these prints has an easy-clean sheen and at more than a metre high they look like what they are: quick studies of dandelions and leafy lanes voluminously enlarged. Of course, Hockney has been an enormously prolific and celebrated painter for half a century, and much of his earlier work – the cool images of Californian life from the mid-1960s, the grandly naturalistic portraits of the late 60s and early 70s, the photo-collages of the 80s – has already passed into the art history books.

David Hockney RA | Royal Academy of Arts David Hockney RA | Royal Academy of Arts

Seine farbenprachtigen Gemalde mit den Landschaften seiner Heimat East Yorkshire sind 2012 in einer beeindruckenden Schau in London, Bilbao und Koln zu sehen. The painting can be viewed as fitting into a European tradition since the Renaissance of depicting the nude bathing, washing off the stain of pollution amid the peace of nature.The historiographic process confirmed one thing: film is not treated seriously in art circles either as a formal medium or as a medium of record. All 50 canvases hung together reveal Hockney's great technical skill and fascination with technology itself. The film was to be based around a series of 35 paintings of an Artist and Model which Picasso had painted in March 1965 over 10 days.

David Hockney: A Bigger Picture (PAL with Subtitles) David Hockney: A Bigger Picture (PAL with Subtitles)

Over the months that followed, he became absorbed by the genre, creating a series of artworks that became the 2016 exhibition David Hockney: 82 Portraits and 1 Still-life. The calmness of the overall composition contrasts with the violent explosion of water caused by diver. Hockney is justly admired, not to say adored, for his pictorial ingenuity, his superlative draughtsmanship, his deft and witty inventions. One example in the exhibition is the sequence of multiple film stills November 7th, 2010, Woldgate, 11.The exhibition in Bilbao came after a successful run earlier in the year at the Royal Academy of Arts, a London institution that collaborated with the Guggenheim to present the show. This is not so much about honesty – after all, film has so many devices, illusions and conventions that honesty can be little more than another fiction – but about a cardinal rule, not to put the viewers at a disadvantage, not to present a more privileged position of knowledge to which they are denied entry.