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David Hockney
Sunflower

1978

About

'Sunflower' - a unique work by David Hockney made of hand-coloured paper pulp, on yellow TGL handmade paper. (See photo of the process.) In 1978 Ken Tyler introduced David Hockney to a new technique involving liquid paper which he had invented for Ellsworth Kelly. The process involved making gallons of fresh paper pulp, which would be used like paint and hand-coloured whilst wet before being pressed flat. It wasn't printmaking, it was painting with the paper itself, a process that the artist had to perform himself by hand, and completely unlike any form of edition making that he had tried before. Each variant of each image would be an unique painted work. Hockney was hooked. Sunflower Title notes : Variant H (Paper Pool 1) Unique hand-coloured pressed paper pulp, on yellow TGL handmade paper. 1978 Size: 42 x 32 in : 106.7 x 81.3 cm Inscriptions: Signed with the initials and dated lower right; annotated "1-H" verso (one of 17 unique variants) Publisher: Published by Tyler Graphics Ltd., Mount Kisco, New York (with their inkstamp verso) Literature: Tyler Graphics 236; Nikos Stangos, David Hockney: paper pools, Thames & Hudson, London, 1980, pp.20-23 Provenance: Tyler Graphics Ltd., New York; Private Collection, USA

Details

  • Movement & Style
  • Condition
    Excellent.
  • Dimensions

    H 42 in. x W 32 in.

    H 106.68 cm x W 81.28 cm

  • Gallery location
    London, GB
  • Reference number
    LU37732743121
  • Seller reference number
    C17-03

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About David Hockney (Artist)

The art of David Hockney is always engaging in its pleasant ambiguities: It’s warm but somehow aloof; filled with light yet often dark and brooding in subject; simple, frank and mundane, but also ethereal and complex. The artist’s stature in the contemporary- art world is such that, in a 2011 survey of one thousand British painters and sculptors, he was named the most influential British artist of all time.


     Hockney grew up in Bradford, in the northern English county of Yorkshire, studying at the Bradford School of Art from 1953 to ’57, and at the Royal College of Art in London from 1959 to ’ 1962. Though he was educated in art a time when abstraction dominated the field, Hockney stuck resolutely to figurative painting and drawing. His early paintings suggest a search for a style, veering from Expressionism to a grotesquerie suggestive of James Ensor. But Hockney found himself almost the moment he arrived in Los Angeles, in 1963. The move from the gray and rainy Britain to a world of bright sunshine and sparkling water brought Hockney a sense of freedom and an artistic epiphany. He would spend most of the next five years in L.A., painting luminous pictures, such as A Bigger Splash (1967), of things that made him happy: swimming pools, manicured lawns, palm trees, stucco buildings and luxuries like shower stalls. Hockney also painted people, almost always his friends. His California portraits such as Beverly Hills Housewife (1966) are considered to be his finest work. They are at once grandly scaled, intimate and poetic.


     In the 1970s, Hockney moved back to Britain and spent much of his time on photography and printmaking. He returned to painting in the 1980s, and to subjects like still lifes, seascapes and portraits. Hockney has always been fascinated by the use of technology in art — he’s credited with inventing the technique of joining Polaroid photos in a collage to form a panoramic picture — and in the past decade has been using the Brush app to paint on an iPad. Because he is prolific and works in a wide range of mediums, Hockney’s art is available at many price points. His consistently striking and provocative work should have a place in any comprehensive collection of contemporary art.

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