View allAll Photos Tagged davidhockney
Action Man Prototype, 1966-84
Palitoy
GI Joe and Action Man launched soon after Barbie and Sindy dolls, on the same 1/6 scale, and with similiarly idealised physiques and full wardrobe. Unlike earlier toy soldiers, Action Man had articulated limbs - the mechanism is visible in this prototype. His rugged appearance was completed with a scar on his cheek and flocked facial hair.
[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.
Undressed explores the male body and underwear, looking at how classical European ideals of masculinity have been perpetuated and challenged over the centuries. Plaster casts of the Apollo Belvedere and the Farnese Hermes – which highlight a tradition of depicting idealised male bodies draped in textiles that reveal more than they conceal – will be juxtaposed with fashion by Jean-Paul Gaultier and A-COLD-WALL*, and prints and photography by Lionel Wendt, Zanele Muholi and Isaac Julien.
[V&A]
“Luna Luna: Forgotten Fantasy”,on exhibit at The Shed from November 20, 2024 through January 5, 2025, revived the world’s first art amusement park, originally created in 1987 by artist André Heller in Hamburg, Germany. After being stored in Texas for over three decades, the exhibition resurrected thirteen of the original thirty attractions, including works by Jean-Michel Basquiat, Keith Haring, Salvador Dalí, David Hockney, and Roy Lichtensten, in Los Angeles in December 2023.
British pop artist David Hockney designed the Enchanted Tree, an immersive installation featured a cylindrical chamber of panels painted with geometric interpretations of blue, red, and green trees. Visitors entered through rounded arches to find another inner cylinder with a lattice of branch-like shapes, creating a magical, layered experience enhanced by classical music from Johann and Joseph Strauss. Hockney’s design reflects his signature use of bright colors and geometric forms, reminiscent of his 1981 stage designs for the Stravinsky Triple Bill at the Metropolitan Opera.
Austrian artist Arik Brauer (1929–2021), a co-founder of the Vienna School of Fantastic Realism, designed a surreal carousel inspired by Jewish mysticism and dream imagery. The carousel featured eight fantastical characters, including a butterfly, a she-wolf, a mermaid, and a hand-horse and enhanced by a song composed and performed by Arik's daughter, Timna Brauer.
Jean-Michel Basquiat designed one of the most influential artists of the 20th century, designed a Painted Ferris Wheel with Music. The Ferris wheel features recurring themes from his earlier work, such as jazz musician Charlie Parker and racial commentary referencing “Jim Crow,” blending his signature figuration and text. The attraction is accompanied by Miles Davis’s 1986 song “Tutu,” which Basquiat insisted on including before agreeing to create the work.
Kenny Scharf's chair swing ride is adorned with his signature cartoon figures and playful geometric shapes. The panels of the ride featured his hallmark style, blending pop cultural imagery inspired by 1960s cartoons with the graffiti aesthetic of 1980s New York. Riders were suspended from the rotating top of the swing, offering them views of the surrounding grounds as well as Scharf’s free-standing sculptures, which acted as whimsical carnival attractions.
A series for a class project, trying to emulate the collage style of photographer David Hockney.
Prototype
Action Man Prototype, 1966-84
Palitoy
GI Joe and Action Man launched soon after Barbie and Sindy dolls, on the same 1/6 scale, and with similiarly idealised physiques and full wardrobe. Unlike earlier toy soldiers, Action Man had articulated limbs - the mechanism is visible in this prototype. His rugged appearance was completed with a scar on his cheek and flocked facial hair.
[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.
Undressed explores the male body and underwear, looking at how classical European ideals of masculinity have been perpetuated and challenged over the centuries. Plaster casts of the Apollo Belvedere and the Farnese Hermes – which highlight a tradition of depicting idealised male bodies draped in textiles that reveal more than they conceal – will be juxtaposed with fashion by Jean-Paul Gaultier and A-COLD-WALL*, and prints and photography by Lionel Wendt, Zanele Muholi and Isaac Julien.
[V&A]
Suit, 1750-00
UK
Wool, linen, silk cotton, wood, silver-gilt
Handkerchief, 1763-70
Mary Ware
Land and Leisure
The fine woollen broadcloth of this formal day suit is punctuated by numerous gilt buttons. Spacious pockets could accommodate a snuff box and a large handkerchief for capturing ensuing sneezes. This handkerchief illustrates different breeds of dogs. It was an important part of a country gentleman's identity to have an impressive pack of hunting hounds.
[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 third gallery, Redressed, opens with a reflection on English country tailoring and the origins of the suit – with historic garments from the V&A collection shown alongside contemporary reimaginings, including a kilt by Nicholas Daley – before exploring how military attire influenced civilian dress.
Redressed will also include paintings as well as extensive photography showing changing styles and attitudes, from Oscar Wilde, Claude Cahun and Cecil Beaton to The Beatles and Sam Smith. Robert Longo's 1981 drawing from the series Men in the Cities will introduce the final part of the section about the dissolving of the suit, and how a new wave of fashion designers from Rick Owens to JW Anderson to Comme des Garçons to Lesiba Mabitsela are slashing away at conventions, both for menswear, and masculinity.
[V&A]
Some of the objects and art inside Walker Art Gallery, Liverpool.
Some areas you couldn't use your camera (e.g. the David Hockney exhibition).
The doors were clearly marked for those where you couldn't use your camera.
These from the areas that you could use for camera.
Bronze bust of of Alfred Wolmark.
By Henri Gaudier-Brzeska (1891-1915).
Bronze, made in 1913.
From the following exhibition:
17 November 2010 > 15 January 2011
Ambit Covers
The Original Gallery
Hornsey Library
Haringey Park
London N8 9JA
www.haringey.gov.uk/theoriginalgallery
See the Eye events page for more graphic happenings: blog.eyemagazine.com/?page_id=158
A final visit to the "David Hockney Current" exhibition at the National Gallery Victoria, before it is packed and moves hugely away from Melbourne. Fragments from yesterday's farewell look.
Suit and Coat, 1956 & 1967
Watson, Fagerstrom & Hughes
Amies may have been influenced by the presence of Bunny Roger, who rented a workspace in his atelier to design womenswear and was a renowned exponent of the Neo-Edwardian style.
Neil Munro 'Bunny' Roger was a flamboyant dandy and Neo-Edwardian. His suits were specially commissioned and included very narrow trousers, velvet-collared frock coats and waisted jackets. He would order as many as 15 new outfits a year from his Savile Row tailor.
[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 third gallery, Redressed, opens with a reflection on English country tailoring and the origins of the suit – with historic garments from the V&A collection shown alongside contemporary reimaginings, including a kilt by Nicholas Daley – before exploring how military attire influenced civilian dress.
Redressed will also include paintings as well as extensive photography showing changing styles and attitudes, from Oscar Wilde, Claude Cahun and Cecil Beaton to The Beatles and Sam Smith. Robert Longo's 1981 drawing from the series Men in the Cities will introduce the final part of the section about the dissolving of the suit, and how a new wave of fashion designers from Rick Owens to JW Anderson to Comme des Garçons to Lesiba Mabitsela are slashing away at conventions, both for menswear, and masculinity.
[V&A]
Sir Edwin Hardy Amies for Hepworth's
Worsted, velvet
Teddy Boy styles infiltrated high street retailers and even Savile Row tailors. The designer Hardy Amies, better known for his couture womenswear, interpreted this style with exaggerated contours in this suit created for Hepworth's, the chain of men's tailoring shops specialising in ready-made suits. Amies may have been influenced by the presence of Bunny Roger, who rented a workspace in his atelier to design womenswear and was a renowned exponent of the Neo-Edwardian style.
[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 third gallery, Redressed, opens with a reflection on English country tailoring and the origins of the suit – with historic garments from the V&A collection shown alongside contemporary reimaginings, including a kilt by Nicholas Daley – before exploring how military attire influenced civilian dress.
Redressed will also include paintings as well as extensive photography showing changing styles and attitudes, from Oscar Wilde, Claude Cahun and Cecil Beaton to The Beatles and Sam Smith. Robert Longo's 1981 drawing from the series Men in the Cities will introduce the final part of the section about the dissolving of the suit, and how a new wave of fashion designers from Rick Owens to JW Anderson to Comme des Garçons to Lesiba Mabitsela are slashing away at conventions, both for menswear, and masculinity.
[V&A]
Monument to Thomas Gray (1716-71).
The monument of various coloured marbles is by John Bacon and was erected (1778) by Gray's friend and biographer the poet William Mason (whose memorial is adjacent).
[Westminster Abbey]
At Poets Corner, Westminster Abbey
The first poet to be buried here, in 1400, was Geoffrey Chaucer, author of 'The Canterbury Tales'. Not because he was a poet but because he was Clerk of the King's Works. Nearly 200 years later, Edmund Spenser (1553-1598) who wrote 'The Faerie Queene' for Elizabeth I, one of the longest poems in the English language, asked to be buried near Chaucer – perhaps with an eye on his own literary reputation.
And, so began a tradition of burials and memorials which continues to this day. The Deans of Westminster decide who receives a place based on merit though they consult widely. Poets' Corner proper is in the eastern aisle, the 'corner', of the south transept, though over time graves and memorials have spread across the whole transept. There are also several clergymen and actors buried in this transept and musician George Frederic Handel.
[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]
Someone had to go with the flames and Fuchs does them proud. the fire is abstracted away from a standard custom paint job with it's angular abstracted forms but stil pays homage to the style, with the underlying contrasting blue scalloping diamond scales which you'll see more of in the detail shots after this one. There's a dark pagan undertone with an abstracted hare jumping through the flames on the bonnett. This car is evil and it knows it.
Ensemble, Age of Consent, 2013
JW Anderson
Ensemble, Wet'n'Wild, 2020
Ludovic de Saint Sernin
Ensemble, 2022
Virgil Abloh for Off-White
Menswear designers are embracing fluidity and transparency. Their work echoes the drapery in classical depictions of 'The Three Graces', which this mannequin group reimagines. Abloh described his brand as 'defining the grey area between black and white as the colour Off-White'. Saint Sernin's collections offer a revealing take on menswear. Anderson uses sheer fabrics, like organza and taffeta, usually associated with womenswear, saying 'gender-neutral is not a trend, it's a reality'.
Undressed explores the male body and underwear, looking at how classical European ideals of masculinity have been perpetuated and challenged over the centuries. Plaster casts of the Apollo Belvedere and the Farnese Hermes – which highlight a tradition of depicting idealised male bodies draped in textiles that reveal more than they conceal – will be juxtaposed with fashion by Jean-Paul Gaultier and A-COLD-WALL*, and prints and photography by Lionel Wendt, Zanele Muholi and Isaac Julien.
[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.
[V&A]
Suit and Coat, 1956 & 1967
Watson, Fagerstrom & Hughes
Amies may have been influenced by the presence of Bunny Roger, who rented a workspace in his atelier to design womenswear and was a renowned exponent of the Neo-Edwardian style.
Neil Munro 'Bunny' Roger was a flamboyant dandy and Neo-Edwardian. His suits were specially commissioned and included very narrow trousers, velvet-collared frock coats and waisted jackets. He would order as many as 15 new outfits a year from his Savile Row tailor.
[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 third gallery, Redressed, opens with a reflection on English country tailoring and the origins of the suit – with historic garments from the V&A collection shown alongside contemporary reimaginings, including a kilt by Nicholas Daley – before exploring how military attire influenced civilian dress.
Redressed will also include paintings as well as extensive photography showing changing styles and attitudes, from Oscar Wilde, Claude Cahun and Cecil Beaton to The Beatles and Sam Smith. Robert Longo's 1981 drawing from the series Men in the Cities will introduce the final part of the section about the dissolving of the suit, and how a new wave of fashion designers from Rick Owens to JW Anderson to Comme des Garçons to Lesiba Mabitsela are slashing away at conventions, both for menswear, and masculinity.
[V&A]
Homage to Vincent Van Gogh. Seen at the Van Gogh Museum Arles.
We went to Arles for Linda to follow the Van Gogh trail. This was interesting but so many of the sites have been knocked down or removed. We finished the trail by going to the museum where there is an exhibition of paintings done by artists paying homage to Van Gogh
1986 36th International Design Conference in Aspen (IDCA) "Insight and Outlook" poster designed by Pentagram and hand signed by Saul Bass, Milton Glaser, Colin Forbes, Lou Dorfsman and someone named Patrick (?). Dorfsman of CBS fame and Saul Bass don't seem to have been connected to the conference and were likely just participants or presenters, but Milton Glaser, although never with Pentagram, was on the Steering Committee for this event along with famed Neils Diffrient and Frank Stanton.
Taken at the exhibition in Salt's Mill, Saltaire. Three adjacent screens slideshow a series of paintings done by David Hockney on his ipad and his iphone. The display brings out some vivid colours. He seems particularly fond of blues & greens.
I think the 3-screen slideshow display works superbly.
Ensemble, Age of Consent, 2013
JW Anderson
Ensemble, Wet'n'Wild, 2020
Ludovic de Saint Sernin
Ensemble, 2022
Virgil Abloh for Off-White
Menswear designers are embracing fluidity and transparency. Their work echoes the drapery in classical depictions of 'The Three Graces', which this mannequin group reimagines. Abloh described his brand as 'defining the grey area between black and white as the colour Off-White'. Saint Sernin's collections offer a revealing take on menswear. Anderson uses sheer fabrics, like organza and taffeta, usually associated with womenswear, saying 'gender-neutral is not a trend, it's a reality'.
Undressed explores the male body and underwear, looking at how classical European ideals of masculinity have been perpetuated and challenged over the centuries. Plaster casts of the Apollo Belvedere and the Farnese Hermes – which highlight a tradition of depicting idealised male bodies draped in textiles that reveal more than they conceal – will be juxtaposed with fashion by Jean-Paul Gaultier and A-COLD-WALL*, and prints and photography by Lionel Wendt, Zanele Muholi and Isaac Julien.
[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.
[V&A]
Spring Awakening. Nature in Spring 2020.
David Hockney created this picture (on his iPad), from the garden of his house in Normandy, France. He then sent it, along with eight others, to Will Gompertz (Arts Editor for BBC News) for everyone to see and enjoy.
For more information see BBC News item "David Hockney shares exclusive art from Normandy, as 'a respite from the news'" at:
I love the really large photo montages by David Hockney so thought I would have a stab.
I have put this together with just 9 images first to see if I thought I could achieve what I was after.
For a first attempt I was quite pleased so I will be going out to try something on a bit of a grander scale...
I have also posted a b&w crop of this here...
For a better idea, please view bigger on B l a c k.
Royal Exchange Theatre, Manchester, UK.
27/01/2010.
Sir Edwin Hardy Amies for Hepworth's
Worsted, velvet
Teddy Boy styles infiltrated high street retailers and even Savile Row tailors. The designer Hardy Amies, better known for his couture womenswear, interpreted this style with exaggerated contours in this suit created for Hepworth's, the chain of men's tailoring shops specialising in ready-made suits. Amies may have been influenced by the presence of Bunny Roger, who rented a workspace in his atelier to design womenswear and was a renowned exponent of the Neo-Edwardian style.
[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 third gallery, Redressed, opens with a reflection on English country tailoring and the origins of the suit – with historic garments from the V&A collection shown alongside contemporary reimaginings, including a kilt by Nicholas Daley – before exploring how military attire influenced civilian dress.
Redressed will also include paintings as well as extensive photography showing changing styles and attitudes, from Oscar Wilde, Claude Cahun and Cecil Beaton to The Beatles and Sam Smith. Robert Longo's 1981 drawing from the series Men in the Cities will introduce the final part of the section about the dissolving of the suit, and how a new wave of fashion designers from Rick Owens to JW Anderson to Comme des Garçons to Lesiba Mabitsela are slashing away at conventions, both for menswear, and masculinity.
[V&A]
If you're even vaguely interested in the visual arts (and after all, you're on Flickr) you must go to the Hockney exhibition.
You don't have to buy the painting by numbers.
Nor do you have to buy an iPad. But you'll want to. And I did.
London, UK
Monument to John Milton (1608-74), dating from 1737, and made by John Michael Rysbrack.
At Poets Corner, Westminster Abbey
The first poet to be buried here, in 1400, was Geoffrey Chaucer, author of 'The Canterbury Tales'. Not because he was a poet but because he was Clerk of the King's Works. Nearly 200 years later, Edmund Spenser (1553-1598) who wrote 'The Faerie Queene' for Elizabeth I, one of the longest poems in the English language, asked to be buried near Chaucer – perhaps with an eye on his own literary reputation.
And, so began a tradition of burials and memorials which continues to this day. The Deans of Westminster decide who receives a place based on merit though they consult widely. Poets' Corner proper is in the eastern aisle, the 'corner', of the south transept, though over time graves and memorials have spread across the whole transept. There are also several clergymen and actors buried in this transept and musician George Frederic Handel.
[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]
Inspired by this image that reminded me of a David Hockney composite polaroid I looked for a tutorial on how to make one in PS (which I modified a bit) and here's the result.
Quite pleased and didn't take too long really. Original image below.
In 2023 Salts Mill at Saltaire in West Yorkshire displayed David Hockney's biggest picture - a 90.75 metres wide frieze recording the changing seasons in and around his French garden in Normandy.
The work joins together some of the 220 iPad pieces Hockney created during 2020. He comments on the work: "the viewer... will walk past it like the Bayeux tapestry, and I hope they will experience in one picture the year in Normandy".