I LI­VE OF ART, di Li­lia Cor­ren­ti


Superyacht - - Art -

Da­vid Hoc­k­ney born in Bra­d­ford UK on Ju­ly 9th in 1937. His mo­ther Lau­ra and his fa­ther Ken­ne­th Hoc­k­ney would of­ten ta­ke young Da­vid to Bra­d­ford mu­seum whe­re he would ad­mi­re no­thing el­se but the works of Vic­to­rian pain­tings as he told Re­pub­bli­ca an Ita­lian dai­ly pa­per in the cour­se of an in­ter­view.“The mo­st beau­ti­ful thing I saw as a child” he says “is the re­pro­duc­tion of a Vic­to­rian street by Ce­zan­ne whi­ch used to hang on a wall in our nei­gh­bours’ hou­se” “at se­ven I al­rea­dy knew I wan­ted to be an ar­ti­st”. A Pain­ter, de­si­gner, en­gra­ver, set de­si­gner and pho­to­gra­pher he’s re­gar­ded as one of the mo­st in­fluen­tial twen­tie­th cen­tu­ry Bri­ti­sh ar­tists. The Ta­te Mo­dern is cur­ren­tly ex­hi­bi­ting his works up un­til May 9th .The ex­hi­bi­tion is a ve­ry com­pre­hen­si­ve one in that it’s ma­de up works col­lec­ted over mo­re than 50 years and Ch­ris Ste­vens who’s in char­ge of the Ta­te Mo­dern says. “The mo­st ex­ci­ting thing among others in this ex­hi­bi­tion is that it is the fir­st ti­me you can not on­ly ad­mi­re the ar­ti­st’s ear­ly works dea­ling wi­th per­so­nal the­mes su­ch as fa­mi­ly por­trai­ts,and friends’ but so­me of his mo­re re­cent work as well. His mo­re clas­si­cal work spans bet­ween the six­ties and se­ven­ties, fea­tu­ring swim­ming pools, dou­ble por­trai­ts, as well as what Hoc­k­ney has pro­du­ced in the cour­se of the la­te­st thir­ty years. The swim­ming pools ha­ve be­co­me twen­tie­th cen­tu­ry icons”. “I’ve pain­ted about twen­ty” he says, and pain­ting the trans­pa­rent hues of the wa­ter is a com­pli­ca­ted real­ly chal­len­ging aspect whi­ch turns me on eve­ry ti­me”. Da­vid Hoc­k­ney is con­si­de­red as one of the mo­st in­fluen­tial ar­tists of the twen­tie­th cen­tu­ry and an im­por­tant con­tri­bu­tor to the pop art mo­ve­ment of the 1960s. He’s cur­ren­tly re­gar­ded as an ab­so­lu­te ma­ster in oil pain­tings, Su­re­ly, any pain­ter su­ch born bet­ween the end of the ni­ne­teen­th and be­gin­ning of the twen­tie­th cen­tu­ry re­pre­sen­ts a new “gen­re”: “A mo­dern life pain­ter”. Pho­to­gra­phy whi­ch had al­rea­dy ma­de its de­but at wed­dings to be­st cap­tu­re snap­sho­ts, and whi­le ma­ny fa­mous pic­tu­res we­re be­co­ming pic­to­rial trans­po­si­tions. Sir Ern­st Gom­bri­ch fa­med

Ope­ning pa­ge, “Pear­blos­som Hi­gh­way” pho­to­gra­phic col­la­ge, Get­ty Mu­seum, Los An­ge­les. On top,“a big­ger spla­sh” acry­lic on can­vas, Ta­te Mu­seum. Abo­ve, “Wold­ga­te Woods” oil on can­vas, ar­ti­st’s col­lec­tion.

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