David Hockney
15 May - 27 Jun 2015
DAVID HOCKNEY
Painting and Photography
15 May – 27 June 2015
The show is an exploration of David Hockney’s interest in perspective and features a series of group portraits, including those of card players, and other portraits and scenes painted in his Los Angeles studio in 2014 and 2015.
David Hockney’s comment on the paintings and photographs said:
“Painters have always known there is something wrong with perspective.
The problem is the foreground and the vanishing point. The reason we have perspective with a vanishing point, is that it came from optics. I am sure that that’s what Brunelleschi did. He used a five inch diameter concave mirror to project the Baptistry onto his panel. This gives automatically a perspective picture, just like a camera would. This is why there is always a void between you and the photograph. I am taking this void away, to put you in the picture.
I made the paintings of the card players first. That helped me work out how to
photograph them. Everything in the photographs is taken very close. The heads the jackets and shirt and shoes are all photographed up close. Each photograph has a vanishing point, so instead of just one I get many vanishing points. It is this that I think gives them an almost 3D effect without the glasses. I think this opens up photography into something new.
If you really think about it, I know the single photograph cannot be seen as the ultimate realist picture. Well not now. Digital photography can free us from a chemically imposed perspective that has lasted for 180 years.”
A fully illustrated catalogue designed by David Hockney is available
Painting and Photography
15 May – 27 June 2015
The show is an exploration of David Hockney’s interest in perspective and features a series of group portraits, including those of card players, and other portraits and scenes painted in his Los Angeles studio in 2014 and 2015.
David Hockney’s comment on the paintings and photographs said:
“Painters have always known there is something wrong with perspective.
The problem is the foreground and the vanishing point. The reason we have perspective with a vanishing point, is that it came from optics. I am sure that that’s what Brunelleschi did. He used a five inch diameter concave mirror to project the Baptistry onto his panel. This gives automatically a perspective picture, just like a camera would. This is why there is always a void between you and the photograph. I am taking this void away, to put you in the picture.
I made the paintings of the card players first. That helped me work out how to
photograph them. Everything in the photographs is taken very close. The heads the jackets and shirt and shoes are all photographed up close. Each photograph has a vanishing point, so instead of just one I get many vanishing points. It is this that I think gives them an almost 3D effect without the glasses. I think this opens up photography into something new.
If you really think about it, I know the single photograph cannot be seen as the ultimate realist picture. Well not now. Digital photography can free us from a chemically imposed perspective that has lasted for 180 years.”
A fully illustrated catalogue designed by David Hockney is available