View allAll Photos Tagged davidhockney
When I arrived in Bilbao I immediately went to the Guggenheim Museum, although I know it's closed on Mondays. I was photographing the beautiful exterior of Frank Gehry's structure when I saw a small group of well-dressed people on the outside patio (just behind 'Puppy' in a prior image). It turns out a major exhibit of recent works by David Hockney was opening the following day (www.guggenheim-bilbao.es/secciones/programacion_artistica...) and he was giving a talk and preview to a select invitation-only, audience that evening. He noticed me as he walked by and I was able to take this image of him.
I was VERY impressed with the exhibit the following day, including new watercolors, huge paintings of Yorkshire, assemblies of drawings in Yosemite done on iPads, and videos taken with banks of 9 Hi Def cameras shown simultaneously on multiple monitors. For a 75 year old, he is still producing leading-edge, very creative art...
Today I went to the Ferens Art Gallery, Hull to see David Hockneys "Bigger Trees Near Warter". It was VERY impressive! It is painted on 50 canvases, and measures 180 x 480 inches overall!
Taken with a Cannon Rebel EOS XS. Used about 40 individual pictures. Put together manually using Photoshop. Inspired by David Hockney
7000 Hollywood Boulevard, Hollywood, Los Angeles
Opened May 15th, 1927, the Hollywood Roosevelt was built by a group of investors including Mary Pickford, Douglas Fairbanks and Louis B. Mayer. The hotel's pool was painted by artist David Hockney. Recently, the management of the hotel was taken over by Thompson Hotels. They appear to be doing a good job. Maureen Bond and I went in here for a late lunch at 25 Degrees, the retro coffee shop.
Nottingham's new modern art gallery after dark. The googie sign adds a nice touch of kitsch . I've been three times now since it opened on Saturday and had a good look around. The Hockney exhibition is definitely worth a look. A variety of work all from the 1960s; the earlier pieces are abstract impressionist work that remind me of German artists like George Grosz, then after he moved to California in 1963, he produced radically different stuff, full of colour and light, such as A Bigger Splash which really made his name. There's also his Rake's Progress, autobiographical and based on Hogarth. The other featured artist, Frances Stark isn't in the same league.
The place as a whole is worth the long wait and they've done a very good job of the bar/cafe in the basement.
France
Silk velvet, linen
The taste for botanicals often saw fauna joining flora, as in this leopard spotted coat...Such flourishes, however dainty, were key to the performance of 18th-century masculinity.
[V&A]
Taken in the Exhibition
Fashioning Masculinities: The Art of Menswear
(March 2022 to November 2022)
At a moment of unprecedented creativity in men's fashion and reflection on gender, this exhibition explored how designers, tailors and artists – and their clients and sitters – have constructed and performed masculinity, and unpicked it at the seams.
...The exhibition showcases the variety of possible masculinities across the centuries from the Renaissance to the global contemporary: from looks by Gucci, Harris Reed, Grace Wales Bonner and Raf Simons, to paintings by Sofonisba Anguissola and Joshua Reynolds, contemporary artworks by David Hockney and Omar Victor Diop, to an extract from an all-male dance performance by Matthew Bourne's New Adventures.
The exhibition presents around 100 looks alongside 100 artworks, displayed thematically across three galleries, Undressed, Overdressed, and Redressed.
The second gallery, Overdressed, explores the elite masculine wardrobe, epitomised by oversized silhouettes, lavish materials like silks and velvet in daring colours, and symbolic patterns to express status, wealth and individuality. On display will be armoured breastplates, silky smoking suits, makeup and shaving equipment, sweeping capes, ribbons and lace, including Grinling Gibbons' wooden carving imitating a Venetian needlepoint lace cravat. Through the lens of contemporary fashion designers including Rahemur Rahman and Kim Jones, Overdressed will show how historic ideas begin to shift, with a full rainbow of masculine outfits on display.
[V&A]
This is the front cover of British Telecom's 1989/90 Bradford and District phone book. Nothing hugely unusual about that – except that it was designed and illustrated by local boy David Hockney. So quite apart from its everyday local usefulness, the directory rapidly became a worldwide collector's item. Life is art!
A Hockney painting, 1853 Gallery, Saltaire, Yorkshire
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The Dean of Westminster, The Very Reverend Dr John Hall, wanted to commission something to celebrate the reign of Queen Elizabeth II, the United Kingdom's longest-reigning monarch. David Hockney, one of the most influential British artists of this reign, was asked if he would undertake the commission to design a stained glass window in a space which was then of 19th-century blank glass.
David Hockney is a Royal Academician, and has been recognized with an Order of Merit and as a Companion of Honour but had never worked in stained glass.
The Dean's brief to Hockney was to provide something symbolic or representational of the subject, rather than a heraldic or figurative design, and for it to be recognisable as his work. Within a day of being offered the commission, Hockney sent the Dean a first-draft design.
Hockney's design depicts a country scene featuring hawthorn blossom and using his distinct colour palette of yellow, red, blue, pink, orange and greens. It follows on from his acclaimed Royal Academy exhibition A Bigger Picture (2012), a major exhibition of landscape paintings, collages and electronically-produced art depicting the landscape and flora of the East Riding of Yorkshire, near Hockney's birthplace, Bradford.
A Bigger Picture was notable for the inclusion of a number of works produced by Hockney on his iPad, and Hockney again used an iPad to design The Queen's Window. Hockney considered the iPad a natural design tool for this project because, like a stained-glass window, it’s back-lit.
Hockney was also inspired by the work of Henri Matisse and Marc Chagall, painters who also worked in stained glass.
The window reflects Queen Elizabeth II's interest and delight in the countryside, and is described by Hockney as "a celebration".
The Queen's Window depicts the Yorkshire countryside in Spring
Stained glass artists and craftspeople at Barley Studio created the window using traditional techniques, working with the artist to translate his vision into glass. Barley Studio is a leading stained glass studio of over forty years based in York.
Helen Whittaker was primarily responsible for translating Hockney’s design to stained glass, and she made sure to preserve the natural, non-uniform lines of nature, captured by the artist in his design, in the final piece.
The vividly-coloured glass in the window was made by Glashütte Lamberts, Bavaria, who manufacture glass using traditional, hand-blowing techniques.
Barley Studio installed the window in the north transept of the Abbey in September 2018, and the window was dedicated by The Dean at a service on 2nd October 2018.
Taken inside Westminster Abbey
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
Taken inside the Lady Chapel, Westminster Abbey
Henry VII lavished huge sums on his new Lady Chapel, which was begun in 1503 but not completed until 1516, nearly six years after his death. Henry’s imposing tomb at the east end of the chapel has magnificent gilt bronze effigies of the king and his wife, Elizabeth of York, made by the brilliant Florentine Renaissance sculptor, Pietro Torrigiano.
Since 1725, it has been used for installations of Knights of the Order of the Bath, and their colourful heraldic banners hang here. The Sovereign and the Great Master of the Order continue to install new knights in the chapel, usually every four years.
A Lady Chapel is a chapel dedicated to the Blessed Virgin Mary and is common to most cathedrals and large churches.
[Westminster Abbey]
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
another "virtual film swap" image with Steven Monteau. i used his image as one exposure in my double exposure here.
thanks again to Steven for the permission to do this, and if you haven't seen his work... check it out! very creative, very inspiring.
cheers.
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My photography blog has yummy ice cream you can download!
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If you’d like to view my images larger… While I only allow my contacts to view my larger images (I generally upload at least 800px images on the long axis)…
a quick workaround I might suggest is to view my photostream as a slideshow. Works well for me. This is frequently how I view others’ ‘streams, and it will put a large image on black. just click the projector screen icon next to the stream or set. : )
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on 01 jan 2010, I began a new journey w/ a flickr 365 group that i formed. The idea is that I strive to push myself daily; by exploring techniques, ideas, and experiments.
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