Howard Hodgkin

Welcome (Commissioned by Andy Warhol for Winter Olympics 1984, Sarajevo) Hodgkin

1983

Around each corner of the print, a brilliant stripe of green outlines the image field, as if the viewer were looking through an eye, or peering through a frame. The back of a figure’...

Abstract red, green and grey interior scene with lines, shapes and hand painted brushstroke texture. Colorful large scale work ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Paper 21.25 x 27.25 in. / 54 x 69 cm Softground etching and aquatint (from two plates) with hand coloring in watercolor (green and orange). Signed by the artist and dated 77 lower right in pencil; numbered lower left in pencil. This print was proofed by Daniel Levy and printed and hand-colored by Ken Farley at Claes Oldenburg’s studio in New York, which Petersburg Press was using at the time. 1977 heralded a breakthrough in Hodgkin’s prints showing an increase in emotional content and intensity. They are more fluid and lush due to an increased looseness of handling. They show a richness and a surface texture previously lacking – mainly due to the application of gouache or watercolor by hand but also to the more tonal techniques of aquatint and soft-ground etching with its chalk-like lines. This print amongst others of the period was prompted by a visit to Tulsa, Oklahoma and represents an interior scene. Catalogue Reference: Elizabeth Knowles...

Here we are in Croydon by Howard Hodgkin highlights the artist's abstract black and white brushwork which became increasingly spontaneous and loose towards the end of the 1970s when ...

A large scale abstract interior scene with bold black, white, red, pink, green, white and orange patterns and brushstrokes, based on an abstract oil painting. Pink and purple dots, y...

Put Out More Flags by Howard Hodgkin, 1992 Additional information: Medium: etching with aquatint, printed to the edges 42 x 52.5 cm 16 1/2 x 20 5/8 in signed with initials, dated and inscribed 'For Dave' in pencil Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...

Lithograph from a stone printed in sepia and green, with hand colouring in two shades of blue gouache. On Velin Arches mould-made paper (300 gsm) Signed and dated 77 in pencil, lower...

A superb impression of this color lithograph with hand coloring in watercolor and gouache on Velin Arches mould-made paper. Signed, dated and numbered 88/90 in pencil by Hodgkin. Pri...

Street Palm by Howard Hodgkin, 1990-91 Additional information: Medium: intaglio print with carborundum from three aluminium plates printed in green, green and yellow (mixed), ultramarine blue and white (mixed), with hand-colouring in vermillion red egg tempera 160 x 137 cm 63 x 54 in signed with initials, numbered and dated Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...