A Bigger Picture: David Hockney

An important new book on one of the world’s most popular artists, David Hockney, published to accompany the exhibition showing at the Royal Academy of Arts in London in 2012.

Illustrated with never been seen before paintings, iPad drawings and video stills, this new publication confirms David Hockney as one of the greatest artists of his generation.

Marco Livingstone explores this bold departure in the context of Hockney’s sixty-year career, while other contributors address the artist’s place in the landscape tradition, his recent video works and their relationship to English landscape film-making, and his ongoing use of new technologies.

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Authors Biography

Marco Livingstone is a leading authority on contemporary art, both as a writer and independent curator, with a particular interest in Pop Art and figurative painting, both of which he has published on extensively. He has curated Pop Art exhibitions throughout Europe and in Japan and Canada as well as numerous touring retrospectives including those of Patrick Caulfield, Jim Dine, Duane Hanson, David Hockney, Allen Jones, R.B. Kitaj, Peter Phillips, Paula Rego, George Segal and Tom Wesselmann. His publications on painting, sculpture and photography include extended catalogues for those exhibitions as well as monographs on Dine, Hockney, Jones, Kitaj and Duane Michals. His book David Hockney: Portraits and People was awarded the Sir Bannister Fletcher Award for best book on the arts in 2004. His Patrick Caulfield: Paintings (2005) and Richard Woods (2006) are published by Lund Humphries.

Artists Biography

(b Bradford, 9 July 1937). English painter, printmaker, photographer and stage designer. Perhaps the most popular and versatile British artist of the 20th century, Hockney made apparent his facility as a draughtsman while studying at Bradford School of Art between 1953 and 1957, producing portraits and observations of his surroundings under the influence of the Euston Road School and of Stanley Spencer. From 1957 to 1959 he worked in hospitals as a conscientious objector to fulfil the requirements of national service. On beginning a three-year postgraduate course at the Royal College of Art, London, in 1959, he turned first to the discipline of drawing from life in two elaborate studies of a skeleton before working briefly in an abstract idiom inspired by the paintings of Alan Davie.

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