Скачать или смотреть ENTERTAINMENT WEEKLY: HOCKNEY ETCHINGS

(2 Jul 1999) English/Nat HOCKNEY BACK IN LONDON WITH ETCHING ART

STORY: DAVID HOCKNEY EXHIBITION
LOCATION: LONDON
DATE: 30TH JUNE

Currently on show at the Alan Cristea Gallery at Cork street in London is an explosion of creative energy from Los Angeles based British artist, David Hockney. It's an exhibition of Hockney's recent etchings, all printed in 1998.

Because of the need to maintain his daily painting routine, Hockney enlisted the aid of his longtime friend and collaborator, Maurice Payne to print the etchings. Maurice is also the subject of one of the works himself.

Hockney's interest in art history and his fascination with the methods and mark-making of the great masters is well known. It's reflected most obviously in this collection in works such as his Van Gogh Chair. It's a two colour hard ground etching printed on Somerset Satin Radiant White paper.

But Hockney suggested that the exhibition catalogue be printed with the full image on the right-hand page and a blown up detail of the etching on the left. Hockney thought it would be an interesting idea to reproduce details of specific areas in each print to scale. The idea was that the blow-up would give a better idea of the marks and techniques he used to create the images.

For Hockney, technique, perspective and the use of the epidiascope, the camera lucida and other marriages of photography and painting are what he describes as the 'trade secrets' of art which are yet to be fully explored in art history.

Another of David Hockney's obsessions is reflected in his Dog Wall in the show. This consists of fifteen individual etchings depicting his beloved dog. Hockney is on record as saying that the dog is one of the reasons why he wouldn't consider moving from his home in Los Angeles.

The confidence in the artist's hand as well as his innovative use of tools has combined to produce an exhibition of etchings well worth a visit. And for the die-hard David Hockney fans, it's essential viewing.

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