--- title: David Hockney Goes Big and Goes Home description: The artist looks lovingly-with paint, video and iPads-at his native English landscape canonical: https://time.com/archive/6644410/david-hockney-goes-big-and-goes-home/ author: Richard Lacayo article:opinion: false article:content_tier: free article:published_time: 2013-12-02T05:00:00.000Z article:modified_time: 2026-02-26T16:39:34.791Z article:section: Entertainment og:title: David Hockney Goes Big and Goes Home og:description: The artist looks lovingly-with paint, video and iPads-at his native English landscape og:url: https://time.com/archive/6644410/david-hockney-goes-big-and-goes-home/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/bltde093bcdab65f2d0/6988d9b9bc6cfc69913e2a3c/time-logo.jpg?branch=production og:image:width: 1200 og:image:height: 675 og:image:alt: TIME og:type: article twitter:card: summary_large_image twitter:title: David Hockney Goes Big and Goes Home twitter:description: The artist looks lovingly-with paint, video and iPads-at his native English landscape twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/bltde093bcdab65f2d0/6988d9b9bc6cfc69913e2a3c/time-logo.jpg?branch=production --- * [Entertainment](/section/entertainment/) # David Hockney Goes Big and Goes Home > Sponsored content. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account. by [Richard Lacayo](https://time.com/author/richard-lacayo/) Dec 2, 2013 5:00 AM UTC by [Richard Lacayo](https://time.com/author/richard-lacayo/) Dec 2, 2013 5:00 AM UTC Landscape is not exactly a widespread pursuit among painters these days. Maybe nature feels too threatened to be treated in a straightforward way. That hill, those woods? Only a matter of time before the frackers come in. And then there’s David Hockney, long the Peter Pan of British painting, now, strange to say, its gray eminence at age 76\. In the mid-2000s he took up residence in England after spending most of the previous four decades in Los Angeles–and not just in England but in Bridlington, a Yorkshire coastal town east of the more industrial city of Bradford, where he grew up. In the years that followed, though he continued making portraits, his obsession was landscape. An aging artist immersing himself in the cycle of the seasons, he made the fields and woodlands of East Yorkshire his equivalent of Monet’s garden. Seven years ago I spent a couple of days with him there. On visits to the sites he was painting, you could sense the blood rush of renewal this project gave him. When he explained about the life force exploding through a mature tree, you didn’t have to wonder who he was really talking about. Last year London’s Royal Academy of Arts staged a sizable survey of his landscapes, some 200 works, in a show called “A Bigger Picture.” It turned out to be a huge crowd magnet. Now the de Young Museum in San Francisco has come up with “David Hockney: A Bigger Exhibition,” on view through Jan. 20\. If nothing else it is truly bigger, with over 300 works that include dozens of portraits, pictures made on iPads and iPhones, multiscreen videos and room after room of landscapes, including colossal multicanvas views of the Yorkshire countryside, many of them in an eye-scorching palette beloved of Van Gogh and the Fauves, to say nothing of The Simpsons. This summer Hockney settled back again in L.A., so the de Young show, organized by his longtime friend, curator and manager Gregory Evans, may represent the full arc of his years-long return to his roots, an interlude now drawing to a close. It produced some spectacular results, like the four monumental views of Woldgate Woods from various seasons, each composed of six canvases combined to make a single 12-by-6-ft. (3.7 by 1.8 m) image. Spread out as though on a proscenium, the woods unfold like one of Hockney’s opera sets, with violet and citric lime providing the high notes instead of Mozart or Puccini. The effect is electric, all the more because it’s counterintuitive. When was the last time the English countryside was rendered in the hothouse colors of Provence? Having traveled in the American West, with these massive pictures Hockney is also envisioning English landscape in majestic American terms, larger even than the British painter John Constable’s “6-footers” of the 1820s, matched instead to the wide-screen dimensions of Albert Bierstadt’s views of the Rockies and the panoramas of Frederic Edwin Church. It’s a scale Hockney had been thinking about as long ago as 1980, when he produced Mulholland Drive: The Road to the Studio, his almost cinematic conjunction of scenes along the road. When the combination of scale and palette works, the new pictures go off like a bomb. An explosive cartoon like May Blossom on the Roman Road, from 2009, with its pulsing sky of Van Gogh swirls and its shadows pooling on a rose pink road, gives the swelling bounty of spring a scary tumescence. But in too many of these paintings, size inflation doesn’t do much to intensify the experience, especially with the pictures Hockney has been making on iPhones and iPads. Because he’s a wizardly draftsman, he can coax miracles of detailed drawing out of a PaintBox app. Even so, when those images are blown up and printed at large scale they go dead. Amplification just exposes their bland passages and empty transitions. And after a while his many small watercolors make you think of Renoir’s late nudes–sunlit, numerous and a bit complacent. This may be why Hockney keeps trying to shake up the game with various formal devices. In some of the big composite paintings, each component canvas has a thin wooden perimeter. Taken together they impose a modernist grid across the assembled image, dividing it into bordered zones that deliberately frustrate your impulse to enter the coherent illusion of a scene. But there’s not much here to match the crazy-quilt intelligence of Hockney’s Cubist landscapes of the 1980s, like Mulholland Drive and A Visit With Christopher and Don, a riff on the side-to-side narrative of Chinese scroll painting in which he gets a single canvas to lay before you a roller-coastering day’s worth of sights, indoors and out. Pleasure has always been a categorical imperative for Hockney, but the real power of his best work has been in the way he linked his sensuality to rigorous formal invention. Here? Not so much. Which is surprising, since Hockney still has his pedagogical side, his tireless impulse to school us about the shortcomings of single-point perspective and show us how much more fun you can have when you look at something from many sides. For decades he’s been Cubism’s truest true believer, insisting that nothing less than multiple perspectives can convey the real darting-around experience of looking. (He has a point there.) It was to solve that problem that he produced his canny photo collages of the 1980s, combining multiple Polaroids or prints, each taken from a slightly different vantage point and sometimes over a period of minutes or even hours. The result was an unstable picture plane, embedded with diverse moments and perspectives, that your delighted eye navigated like an ice floe. In the same vein, among his new videos are four made by taking a car mounted with nine minicameras down the same wooded road in various seasons, each lens pointed in a slightly different direction. What that produces is a nine-screen video mural with that same undulant ice-floe surface, one that also nods to the faceted picture plane that the Cubists borrowed from Cézanne. The effect is mesmerizing. Despite his devotion to the ancient practices of painting and drawing–a polemical stand itself in a postpainterly era of video, installation and performance art–Hockney has always loved new technologies and the ways they can serve art. He has spent years developing a theory, not much accepted by art historians, that the emergence of precise illusionism in 15th century Western painting was due to the quiet adoption by artists of new optical devices that let them more or less trace complex backgrounds, figures and faces. In his portraits Hockney has sometimes used one, the camera lucida, a prism that casts the model’s image onto a sheet of paper. And as newer devices came along, he’s made fax pictures, ink-jet-printed computer images and all those drawings on iPhones and iPads. Still, they’re no match for the beautifully intricate charcoal drawings that Hockney made earlier this year to record the return of spring to Yorkshire, with their dense fields of granular observation. Likewise his best portraits lately aren’t usually the oils and computer images but the drawings, complex and deeply considered freehand excursions, a low-tech practice carried out at the high pitch of capability he possesses. Pleasures like those pop up all around “A Bigger Exhibition.” That’s how you know Hockney would have been better served by a smaller one. ```json [{"@context":"https://schema.org","@type":"NewsArticle","@id":"https://time.com/archive/6644410/david-hockney-goes-big-and-goes-home/","mainEntityOfPage":{"@type":"WebPage","@id":"https://time.com/archive/6644410/david-hockney-goes-big-and-goes-home/"},"headline":"David Hockney Goes Big and Goes Home","datePublished":"2013-12-02T05:00:00.000Z","dateModified":"2026-02-26T16:39:34.791Z","description":"The artist looks lovingly-with paint, video and iPads-at his native English landscape","url":"https://time.com/archive/6644410/david-hockney-goes-big-and-goes-home/","keywords":[],"thumbnailUrl":"","author":[{"@type":"Person","name":"Richard Lacayo","url":"https://time.com/author/richard-lacayo/"}],"articleSection":"Entertainment","image":[],"publisher":{"@type":"Organization","name":"Time","url":"https://time.com/","logo":{"@type":"ImageObject","url":"https://time.com/images/logo.png","width":528,"height":156},"foundingDate":"March 3, 1923","sameAs":["https://www.facebook.com/time","https://www.instagram.com/time/?hl=en","https://twitter.com/time","https://www.pinterest.com/timemagazine"]}},{"@context":"https://schema.org","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"/section/entertainment/","name":"Entertainment"}},{"@type":"ListItem","position":2,"item":{"@id":"https://time.com/archive/6644410/david-hockney-goes-big-and-goes-home/","name":"David Hockney Goes Big and Goes Home"}}]}] ```