Celia with Green Hat, craeted just before the Vogue cover, is for sale in our gallery. The cover of the Paris Vogue is a cubist-like image of his friend and muse, Celia Britwell. The magazine included a 41-page spread of Hockney’s photocollages and the cubist-style work that they inspired. Hockney was asked to do a cover and story for the December 1985 Paris issue of Vogue. The trip inspired Hockney to continue to paint and work on his Moving Focus series, using a new printing technique, developed by Tyler, that used layers of Mylar sheets to get rich color after each single color sheet was transferred and printed from aluminum plates.
He went back to the hotel a few months later, accompanied by master printer, Kenneth Tyler. He made it to the show, but his car broke down near the Hotel Romano Angeles, where he stayed and sketched before returning home. That same year, Hockney traveled from his home in Los Angeles to Mexico City for the opening of an exhibition of his work at the Museo Rufino Tamayo. When he began painting again, in 1984, Hockney created works that mirrored the viewpoints he saw when he looked through the camera lens, like Tyler Dining Room, which can be seen in our gallery. The exhibit led, not only to other exhibits, but also to an invitation to speak about photography at London’s Victoria and Albert Museum.ĭuring this time, Hockney stopped painting for a while and concentrated on studying the perspective he saw through the camera lens. He called his photocollages “Joiners”, and had an exhibition of his photos in a 1982 New York show called, Drawing with a Camera. He took Polaroids of the same subject, from different angles and at different times, creating collages that gave the finished works a cubist perspective. Edwin Land had just introduced the Polaroid to the world and Hockney used it in a way that only an artist with incredible vision could imagine. In the 1970s, Hockney began to look through at the world through the lens of a camera. His view of the world is large, his perspective enormous. David Hockney calls himself a scophophile…a voyeur…but his images are more intimate than sexual.
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