David Hockney

David Hockney
David Hockney in 2017
Born	July 9 1937(1937-07-09)
Died	June 11 2026 (aged 88) London, England
Field	Painting, drawing, printmaking, photography, Digital painting, set design
Movement	Pop art
Awards	Praemium Imperiale (1989) Member of the Order of the Companions of Honour (1997) Royal Academician Order of Merit (2012) Honorary doctorate, Otis College of Art and Design (1985)

David Hockney (July 9, 1937 – June 11, 2026) was an English painter, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth and twenty-first centuries. He was known for his vivid, stylized realism and championed figurative work, often in a bold style, during a period when abstract art predominated.

Hockney studied at the Royal College of Art before moving to Los Angeles in the 1960s. The light and lifestyle of California had a profound effect on his work; using acrylic paint, he worked on large portrait studies before turning to prints and photocollages in his later career. He used digital applications extensively in the final decades of his career and returned to the Yorkshire landscapes of his childhood with large en plein air pieces. Hockney exhibited internationally with several important retrospectives at leading institutions and was the recipient of major civic and institutional honors.

Life

David Hockney was born on July 9, 1937 in Bradford, West Riding of Yorkshire, England, the fourth of five children of Kenneth Hockney (1904–1978), an accountant's clerk who later ran his own accountancy business and who had been a conscientious objector in the Second World War, and Laura (1900–1999) née Thompson, a devout Methodist and strict vegetarian.

He was educated at Wellington Primary School, Bradford Grammar School, Bradford College of Art and the Royal College of Art (RCA) in London, where he met R. B. Kitaj, Frank Bowling, and Neil Stokoe. At the RCA, Hockney featured alongside Peter Blake in the exhibition New Contemporaries, which announced the arrival of British Pop art. He was associated with the movement, but his early works display expressionist elements which are similar to some of Francis Bacon's works. When the RCA said it would not let him graduate if he did not complete an assignment of a life drawing of a live model in 1962, Hockney painted Life Painting for a Diploma in protest. He had refused to write an essay required for the final examination and said that he should be assessed solely on his artworks. Recognizing his talent and growing reputation, the RCA changed its regulations and awarded him a diploma.

After leaving the RCA, he taught at Maidstone College of Art for a short time. He taught at the University of Iowa in 1964, and at the University of Colorado, Boulder, in 1965. Next he taught at the University of California, Los Angeles, from 1966 to 1967 and then at the University of California, Berkeley, in 1967.

In 1964 Hockney moved to Los Angeles, where he was inspired to make a series of paintings of swimming pools in the comparatively new acrylic medium using vibrant colors. He lived at various times in Los Angeles, London, and Paris from the late 1960s to 1970s.

Residences

Hockney's residence in Los Angeles

Hockney's former house on Kingston Road, Bridlington

In 1978 Hockney rented a home in the Hollywood Hills; he later bought and expanded the house to include his studio. He also owned a 1,643-square-foot (152.6 m²) beach house at 21039 Pacific Coast Highway in Malibu, which he sold in 1999. In the 1990s, Hockney returned more often to Yorkshire, usually every three months, to visit his mother, who died in 1999. He rarely stayed for more than two weeks, until 1997 when his friend Jonathan Silver who was terminally ill, encouraged him to capture the local surroundings. At first, he did this with paintings based on memory, some from his boyhood. Hockney returned to Yorkshire for increasingly longer stays and, by 2005, was painting the countryside en plein air in both oils and watercolor.

Hockney set up residence and studio in a converted bed and breakfast, in the seaside town of Bridlington, about 75 miles (121 km) from where he was born. He created paintings made of multiple smaller canvases – two to fifty – placed together. To help him visualize work at that scale, he used digital photographic reproductions to study the day's work.

In 2019 he created a studio at La Grande Cour, a rustic farmhouse near Beuvron-en-Auge in Normandy. He spent a year there, using a concertina sketchpad and an iPad to work outside painting the changing seasons in a series of images inspired by the Bayeux Tapestry.

In November 2015 Hockney sold his house in Bridlington, ending his long association with the town. He then moved to Normandy, living in Rumesnil near Beuvron-en-Auge until 2023, before returning to Marylebone in London.

Sexuality and relationships

Hockney came out as gay when he was 23, while studying at the Royal College of Art in London. It was not until seven years later that homosexual acts between men over 21 were decriminalized in Britain with the Sexual Offences Act 1967. Hockney explored the nature of gay love in his work, such as in the painting We Two Boys Together Clinging (1961), named after a poem by Walt Whitman. In 1963 he painted two men together in the painting Domestic Scene, Los Angeles, one showering while the other washes his back.

In the summer of 1966, while teaching at UCLA, he met Peter Schlesinger, an art student who posed for paintings and drawings, and with whom he became romantically involved. Another of Hockney's romantic partners who was the subject of his work was Gregory Evans; the two met in 1971 and began a relationship in 1974. While no longer romantically involved, they still worked together, with Evans managing the David Hockney Studio. Hockney had a relationship with artist and illustrator Ian Falconer, who was both his lover and his only formal student.

His longtime companion was Jean-Pierre Gonçalves de Lima, also known as JP, who worked with Hockney in his studio as his chief assistant.

Health

Hockney experienced hearing loss since the 1970s and used hearing aids from 1979, although he realized he was going deaf several years earlier. He also described having synaesthetic associations between sound, color, and shape.

Hockney maintained a daily swimming routine and reported being able to stand for extended periods while working at his easel.

Death

Hockney died at his home in London on June 11, 2026, aged 88. His funeral was held privately according to his wishes and attended only by his partner Jean‑Pierre Gonçalves de Lima and his great‑nephew Richard.

Work

Hockney experimented with painting, drawing, printmaking, watercolors, photography, and many other media, including a fax machine, paper pulp, computer applications, and iPad drawing programs. The subject matter of his interest ranged from Still life to landscapes, portraits of friends, his dogs, and stage designs for the Royal Court Theatre, Glyndebourne, and the Metropolitan Opera in New York City.

Portraits

Hockney returned to painting portraits throughout his career. From 1968, and for the next few years, he painted portraits and double portraits of friends, lovers, and relatives just under life-size in a realistic style that adroitly captured the likenesses of his subjects. Perhaps more than all of these, Hockney turned to his own figure year after year, creating over 300 self-portraits.

From 1999 to 2001, Hockney used a camera lucida for his research into art history, as well as his own work in the studio, creating over 200 drawings of friends, family, and himself using this antique lens-based device.

Printmaking

Hockney experimented with printmaking as early as a lithograph Self-Portrait in 1954 and worked in etchings during his time at RCA. One of his earliest lithographs, Fish and Chip Shop, was given to his local chip shop, the Sea Catch in Eccleshill in 1954. It was sold in auction, at Christie's in London, in 2017, with an estimate of £6,000–8,000.

In 1965, the print workshop Gemini G.E.L. approached him to create a series of lithographs with a Los Angeles theme. Hockney responded by creating The Hollywood Collection, a series of lithographs recreating the art collection of a Hollywood star, each piece depicting an imagined work of art within a frame. Hockney went on to produce many other portfolios with Gemini G.E.L. including Friends, The Weather Series, and Some New Prints. During the 1960s, he produced several series of prints he thought of as 'graphic tales', including A Rake's Progress (1961–1963) after Hogarth, Illustrations for Fourteen Poems from C.P. Cavafy (1966) and Illustrations for Six Fairy Tales from the Brothers Grimm (1969).

In 1973, Hockney began a fruitful collaboration with Aldo Crommelynck, Picasso's preferred printer. In his atelier, he adopted Crommelynck's trademark sugar lift, as well as a system of the master's own devising of imposing a wooden frame onto the plate to ensure color separation. Their early work together included Artist and Model (1973–1974) and Contrejour in the French Style (1974). From 1976 to 1977, Hockney created The Blue Guitar referencing themes in a poem by Wallace Stevens, The Man with the Blue Guitar. The suite of 20 etchings, each utilizing Crommelynck's techniques and filled with references to Picasso, was published by Petersburg Press in October 1977. That year, Petersburg also published a book in which the images were accompanied by the poem's text.

In the summer of 1978, Hockney stayed for six weeks with his friend the printer Ken Tyler at Tyler's studio in New York, Tyler Graphics Ltd. Tyler invited Hockney to try a new technique with liquid paper, which involves painting with the paper itself. The artist has to create it by hand, and each image becomes a unique work between printmaking and painting. In six weeks, Hockney created a total of 29 artworks with a series of 17 sunflowers and swimming pools.

Photocollages

In the early 1980s, Hockney began to produce photo collages – which, in his early explorations within his personal photo albums, he referred to as "joiners" – first using Polaroid prints and subsequently 35 mm commercially processed color prints. Using multiple prints of a single subject, Hockney arranged a patchwork to make a composite image. Because the photographs are taken from different perspectives and at slightly different times, the result was work that has an affinity with Cubism.

He arrived at the idea of "joiners" accidentally. In the late 1960s, he noticed that photographers were using cameras with wide-angle lenses; he did not like the resulting photographs because they looked somewhat distorted. While working on a painting of a living room and terrace in Los Angeles, he took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. On looking at the final composition, he realized it created a narrative, as if the viewer moved through the room. He began to work more with photography after this discovery, stopping painting for a while to pursue this new technique exclusively.

Over time, he also discovered what he could not capture with a lens, saying:

Photography seems to be rather good at portraiture, or can be. But, it can't tell you about space, which is the essence of landscape. For me anyway. Even Ansel Adams can't quite prepare you for what Yosemite looks like when you go through that tunnel and you come out the other side.

Frustrated with the limitations of photography and its 'one-eyed' approach, he returned to painting.

Other media and technology

In December 1985, Hockney used the Quantel Paintbox, a computer that allowed the artist to sketch directly onto the screen. The resulting work was featured in a BBC series Painting with Light that profiled several artists. In 1999–2001, his sister, Margaret, began experimenting with digital photography, scanning and computer printing, particularly making images of flowers scanning a small Japanese vase and fresh flowers. In 2004, Hockney went to stay with Margaret and she helped him scan his sketchbook of Yorkshire landscapes and he soon began using a Wacom pad and pen directly into Photoshop.

The Queen's Window, Westminster Abbey

From 2009 forward, Hockney painted hundreds of portraits, still lifes, and landscapes using his iPhone and iPad. In 2010 and 2011, Hockney visited Yosemite National Park to draw its landscape on his iPad. He used an iPad in designing a stained glass window at Westminster Abbey which celebrated the reign of Queen Elizabeth II. Unveiled in September 2018, the Queen's Window is located in the north transept of the Abbey and features a hawthorn blossom scene which is set in Yorkshire.

From 2010 to 2014, Hockney created multi-camera movies using three to eighteen cameras to record a single scene. He filmed the landscape of Yorkshire in various seasons, jugglers and dancers, and his own exhibitions within the de Young Museum and the Royal Academy of Arts.

Plein air landscapes

In June 2007, Hockney's largest painting, Bigger Trees Near Warter, which measures 15 by 40 feet (4.6 m × 12 m) , was hung in the Royal Academy's largest gallery in its annual Summer Exhibition. This work "is a monumental-scale view of a coppice in Hockney's native Yorkshire, between Bridlington and York. It was painted on 50 individual canvases, mostly working in situ, over five weeks last winter." In 2008, he donated it to Tate in London, saying:

If I’m going to give something to the Tate I want to give them something really good. It’s going to be here for a while. I don’t want to give things I’m not too proud of. ... I thought this was a good painting because it’s of England. It seems like a good thing to do.

Theatre works

Hockney's initial stage designs were for Ubu Roi at London's Royal Court Theatre in 1966, Igor Stravinsky's The Rake's Progress at the Glyndebourne Festival Opera in 1975, and The Magic Flute for Glyndebourne in 1978. In 1980, he agreed to design sets and costumes for a twentieth-century French triple bill at the Metropolitan Opera House with the title Parade. He designed sets for another triple bill of Stravinsky's Le sacre du printemps, Le rossignol, and Oedipus Rex for the Metropolitan Opera in 1981 as well as Richard Wagner's Tristan und Isolde for the Los Angeles Music Center Opera in 1987, Giacomo Puccini's Turandot in 1991 at the Lyric Opera of Chicago, and Richard Strauss's Die Frau ohne Schatten in 1992 at the Royal Opera House in London. In 1994, he designed costumes and scenery for twelve opera arias for the TV broadcast of Plácido Domingo's Operalia in Mexico City. Technical advances allowed him to become increasingly complex in model-making. At his studio he had a proscenium opening 6 feet (1.8 m) by 4 feet (1.2 m) in which he built sets in 1:8 scale. He also used a computerized setup that let him punch in and program lighting cues at will and synchronize them with the music soundtrack.

Exhibitions

Hockney was featured in over 400 solo exhibitions and over 500 group exhibitions. He had his first one-man show at Kasmin Limited when he was 26 in 1963, and by 1970 the Whitechapel Gallery in London had organized the first of several major retrospectives, which subsequently traveled to three European institutions. LACMA also hosted a retrospective exhibition in 1988 which traveled to The Met, New York, and Tate, London.

In October 2006, the National Portrait Gallery in London organized one of the largest ever displays of Hockney's portraiture work, including 150 paintings, drawings, prints, sketchbooks, and photocollages from over five decades. The collection ranged from his earliest self-portraits to work he completed in 2005. Hockney assisted in displaying the works and the exhibition, which ran until January 2007, was one of the gallery's most successful.

A Bigger Picture at the Royal Academy in London, January 2012

From January 21 to April 9, 2012, the Royal Academy presented A Bigger Picture, which included more than 150 works, many of which took up entire walls in the gallery's brightly lit rooms. The exhibition was dedicated to landscapes, especially trees and tree tunnels of Hockney's native Yorkshire. Works included oil paintings, watercolors, and drawings created on an iPad and printed on paper. Hockney said, in a 2012 interview, "It's about big things. You can make paintings bigger. We're also making photographs bigger, videos bigger, all to do with drawing."

From October 26, 2013 to January 30, 2014, David Hockney: A Bigger Exhibition was presented at the de Young Museum in San Francisco. The largest solo exhibition Hockney had, with 397 works of art in more than 18,000 square feet, was curated by Gregory Evans and included works from 1999 to 2013 in a variety of media from camera lucida drawings to watercolors, oil paintings, and digital works.

From February 9 to May 29, 2017, David Hockney was presented at Tate Britain, becoming the most-visited exhibition in the gallery's history. The exhibition marked Hockney's 80th year and gathered together "an extensive selection of David Hockney's most famous works celebrating his achievements in painting, drawing, print, photography and video across six decades."

Hockney's Bigger Christmas Trees light display, Battersea Power Station, 2023

After the blockbuster exhibitions in 2017 of the works of decades past, Hockney went on to display his newest paintings on hexagonal canvases and mural-size 3D photographic drawings at Pace Gallery in 2018. He revisited paintings of Garrowby Hill, the Grand Canyon, and Nichols Canyon Road, this time painting them on hexagonal canvases to enhance aspects of reverse perspective. In 2019, his early work featured in his native Yorkshire at The Hepworth Wakefield.

In 2023 the Honolulu Museum of Art (HoMA) presented "David Hockney: Perspective Should Be Reversed, Prints from the Collections of Jordan D. Schnitzer and His Family Foundation." The exhibition was the largest retrospective print exhibition of Hockney's career, with more than 100 colorful prints, collages, and photographic and iPad drawings, in a variety of media, spanning six decades of the artist's career.

In December 2023, David Hockney's Bigger Christmas Trees holiday display lit up London’s Battersea Power Station every evening until December 25.

Collections

Many of Hockney's works are housed in the 1853 Gallery at Salts Mill in Saltaire, in his hometown of Bradford. Another large group of works are held by The David Hockney Foundation. His work is in numerous public and private collections worldwide, including:

• Art Institute of Chicago
• Louisiana Museum of Modern Art, Humlebæk, Denmark
• J. Paul Getty Museum, Los Angeles
• Los Angeles County Museum of Art
• Metropolitan Museum of Art, New York
• Centre Pompidou, Paris
• Hirshhorn Museum and Sculpture Garden, Washington, D.C.
• Smithsonian American Art Museum, Washington, D.C.
• Muscarelle Museum of Art, Williamsburg, Virginia

Art market

Several pieces of Hockney's art have been sold, fetching record prices. For example, Hockney's painting The Splash sold for £2.6 million on June 21, 2006. It was offered for auction again on February 11, 2020, with an estimate of £20–30 million and sold, to an unknown buyer, for £23.1 million.

His A Bigger Grand Canyon, a series of 60 canvases that combined to produce one enormous picture, was bought by the National Gallery of Australia for $4.6 million.

Beverly Hills Housewife (1966–1967), a 12-foot-long acrylic that depicts the collector Betty Freeman standing by her pool in a long hot-pink dress, sold for $7.9 million at Christie's in New York in 2008, the top lot of the sale and a record price for a Hockney. This was topped in 2016 when his Woldgate Woods landscape made £9.4 million at Sotheby's auction. The record was broken again in 2018 with the sale of Piscine de Medianoche (Paper Pool 30) for $11.74 million and then doubled in the same Sotheby's auction when Pacific Coast Highway and Santa Monica sold for $28.5 million.

On November 15, 2018 Hockney's 1972 work Portrait of an Artist (Pool with Two Figures) sold at Christie's auction house in New York City for $90 million (£70 million), becoming the most expensive artwork by a living artist sold at auction. It broke the previous record which was set by the 2013 sale of Jeff Koons's Balloon Dog (Orange) for $58.4 million. Hockney held the record until May 15, 2019 when Koons reclaimed the honor by selling his Rabbit for more than $91 million at Christie's in New York.

Legacy

David Hockney Collage, by Marcus Levine (2018), Chapel Street, Bradford, to commemorate his 80th year

As an important contributor to the pop art movement of the 1960s, David Hockney is considered one of the most influential British artists of the twentieth and twenty-first centuries. He was known for his vivid, stylized realism and championed figurative work, often in a bold style, during a period when abstract art predominated.

King Charles III paid tribute to Hockney, describing him as "a giant of the world of art and painting, a Yorkshireman through and through, and a dear friend and inspiration to so many." Prime Minister Keir Starmer also paid tribute, with a spokesman saying: "The prime minister is saddened to hear of the death of David Hockney, one of Britain's most celebrated artists."

Awards and honors

In 2012 Hockney featured in BBC Radio 4's list of The New Elizabethans to mark the diamond Jubilee of Queen Elizabeth II. A panel of seven academics, journalists and historians named Hockney among the group of people in the UK "whose actions during the reign of Elizabeth II have had a significant impact on lives in these islands and given the age its character."

Hockney received numerous awards and distinctions recognizing his contributions to painting, photography, and the visual arts including:

• 1967 – John Moores Painting Prize (Walker Art Gallery) for Peter Getting Out of Nick's Pool
• 1983 – Shakespeare Prize (Alfred Toepfer Foundation)
• 1988 – Progress Medal, Royal Photographic Society
• 1990 – Offered a knighthood (declined)
• 1993 – Award of Achievement, Archives of American Art, Los Angeles
• 1997 – Member of the Order of the Companions of Honour (CH)
• 1997 – Cultural Award, German Society for Photography (DGPh)
• 2003 – Special 150th Anniversary Medal and Honorary Fellowship, Royal Photographic Society
• 2003 – Lorenzo de' Medici Lifetime Career Award, Florence Biennale
• 2012 – Appointed to the Order of Merit (OM)

David Hockney Foundation

The David Hockney Foundation – both the UK registered charity 1127262 and the US 501(c)(3) private operating foundation – was created by the artist in 2008.

The foundation's mission is to advance appreciation and understanding of visual art and culture through the exhibition, preservation, and publication of Hockney's work.

The foundation owns over 8,000 works – paintings, drawings, watercolors, complete editioned prints, stage design, multi-camera movies, and other media. They also hold 203 sketchbooks and Hockney's personal photo albums from 1961 to 1990. The foundation manages various loans to museums and exhibitions around the world, including Happy Birthday, Mr. Hockney! at the J. Paul Getty Museum celebrating his 80th birthday, and the retrospective exhibitions from 2017 to 2018 at the Metropolitan Museum, Centre Georges Pompidou, and Tate Britain.

Publications

• 72 Drawings. Jonathan Cape, 1971. ISBN 022400655X
• David Hockney. Thames & Hudson, 1976. ISBN 0500091080
• Blue Guitar: Etchings by David Hockney Who Was Inspired by Wallace Stevens Who Was Inspired by Pablo Picasso. Petersburg Press, 1977. ISBN 0902825038
• Travels with Pen, Pencil and Ink. Petersburg Press, 1978. ISBN 0902825070
• Pictures by David Hockney. Thames & Hudson, 1979. ISBN 0500271631
• Travels with Pen, Pencil and Ink. Tate Gallery, 1980. ISBN 0905005589
• Photographs. Petersburg Press, 1982. ISBN 0902825151
• Hockney's Photographs. Arts Council of Great Britain, 1983. ISBN 0728703823
• Martha's Vineyard and other places: My Third Sketchbook from the Summer of 1982. Thames and Hudson, 1985. ISBN 0500234469
• David Hockney: Faces 1966–1984. Thames & Hudson, 1987. ISBN 0500274649
• That's the Way I See It. Thames and Hudson, 1989. ISBN 0500280851
• Hockney's Alphabet. Random House, 1991. ISBN 067941066X
• David Hockney: Some Very New Paintings. William Hardie Gallery, 1993. ISBN 1872878032
• Off the Wall: A Collection of David Hockney's Posters 1987–94. Pavilion Books, 1994. ISBN 1857934210
• David Hockney: Poster Art. Chronicle Books, 1995. ISBN 0811809153
• Picasso. Galerie Lelong, 1999. ISBN 2868820263
• Une éducation artistique. Galerie Lelong, 1999. ISBN 286882028X
• Hockney's Pictures. Thames & Hudson, 2001. ISBN 050028671X
• Secret Knowledge: Rediscovering the lost techniques of the Old Masters. Avery, 2006. ISBN 978-0142005125
• Hockney on Art: Conversations with Paul Joyce. Little, Brown and Company, 2008. ISBN 978-1408701577
• David Hockney's Dog Days. Thames & Hudson, 2011. ISBN 978-0500286272
• A Yorkshire Sketchbook. Royal Academy of Arts, 2011. ISBN 978-1907533235
• David Hockney: A Bigger Picture. Thames & Hudson, 2012. ISBN 978-0500093665
• David Hockney: A Bigger Exhibition. Fine Arts Museums of San Francisco and Del Monico with Prestel, 2013. ISBN 978-3791353340
• A History of Pictures. Thames & Hudson, 2016. ISBN 978-0500239490
• Spring Cannot be Cancelled: David Hockney in Normandy. Thames & Hudson, 2021. ISBN 978-0500094365

References

ISBN links support NWE through referral fees

• Barber, Lynn. Demon Barber. Penguin, 1998. ISBN 978-0670853540
• Cytowic, Richard E. Synesthesia: A Union of the Senses. Bradford Books, 2002, ISBN 978-0262032964
• Gayford, Martin. A Bigger Message: Conversations with David Hockney. Thames & Hudson, 2011. ISBN 978-0500238875
• Hockney, David. The Blue Guitar: Etchings By David Hockney Who Was Inspired By Wallace Stevens Who Was Inspired By Pablo Picasso. Petersburg Press, 1977. ISBN 978-0902825031
• Hockney, Margaret. My Mother is not Your Mother. Salts Estates Ltd, 2017. ISBN 978-0951695081
• Howgate, Sarah, and Barbara Stern Shapiro. David Hockney: Portraits. Yale University Press, 2006. ISBN 978-0300117547
• Joyce, Paul. Hockney on Photography. Harmony, 1988. ISBN 978-0517571743
• Joyce, Paul. Hockney on Art. Little, Brown Book Group, 2009. ISBN 978-1408701577
• Sonnenstrahl, Deborah M. Deaf Artists in America, Colonial to Contemporary. DawnSignPress, 2003. ISBN 978-1581210507
• Sykes, Christopher Simon. Hockney: The Biography. Century, 2011. ISBN 978-1846057083
• Webb, Peter. Portrait of David Hockney. E. P. Dutton, 1989. ISBN 978-0525248262
• Weschler, Lawrence. True to Life: Twenty-Five Years of Conversations with David Hockney. University of California Press, 2009. ISBN 978-0520258792

External links

All links retrieved July 21, 2026.

• David Hockney Official website
• The David Hockney Foundation
• David Hockney The Tate
• David Hockney Pace Gallery
• David Hockney Richard Gray Gallery
• David Hockney Find a Grave

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