Lindy. Marchioness of Dufferin and Ava. London. 17th June 1999
1999

Paris exhibitions

At the start of the year, Hockney’s work makes a strong showing in Paris. His landscapes and related spatial investigations—notably his recent [NESTED]paintings of the Grand Canyon—are on view at the Centre Pompidou in the career-length solo show Espace/Paysage, while the Musée Picasso selects Hockney’s work for Dialogue avec Picasso, its first exhibition of the work of a living artist. 

Hockney in front of a sign for the Pompidou exhibition
Hockney in front of a sign for the Pompidou exhibition
Artist and Model
The Old Guitarist from "The Blue Guitar"
The Student: Homage to Picasso
Self Portrait with Blue Guitar

It’s frightening at times thinking what to do at the Picasso Museum, to look at all interesting compared to what is there, but my suggestion now is to make a show of the etchings I have been obsessively doing recently .... I have been doing portraits—very strong and dense .... The work is I think more than just some etchings.

Optical investigations

Hockney becomes increasingly consumed by his research into the history of photography—literally “drawing with light”—prior to the mid-nineteenth-century invention of photochemical processes for printing images. The use of lenses and optical devices by Western artists to depict mathematical perspective and render detailed likenesses is a development he sees as neglected in art historical writings but evident in actual artworks, from Caravaggio to Vermeer. Hockney purchases a camera lucida to investigate how artists such as Jean-Auguste-Dominique Ingres (French, 1780–1867) might have used such lens-based devices to trace projected images. In the autumn, he publishes an article in the RA Magazine on the topic, and participates in the symposium “Ingres and Portraiture” at the Metropolitan Museum of Art in New York. 

Self Portrait, London, 3rd June 1999
Self Portrait, Baden-Baden, 8th June 1999
Self Portrait, Baden-Baden, 9th June 1999
Self Portrait, Baden-Baden, 9th June 1999
Self Portrait, Baden-Baden, 9th June 1999
Self Portrait, Baden-Baden, 10th June 1999
Self Portrait, Baden-Baden, 10th June 1999
Self Portrait, Baden-Baden, 11th June 1999
Self Portrait, Baden-Baden, 11th June 1999
Self Portrait, Baden-Baden, 12th June 1999
Self Portrait, London, 13th June 1999
Self Portrait, London, 13th June 1999
Self Portrait. Los Angeles. September 6, 1999 (Transcription of Ingres Drawing) (& Verso)
Self Portrait. London. 24th June 1999
Self Portrait. Los Angeles. 18th July 1999
Self Portrait. Los Angeles. August 11, 1999
Self Portrait. Los Angeles. August 13, 1999.
Self Portrait. Los Angeles. August 19, 1999
Self Portrait. August 30, 1999

The history of art is all very comfortable until the invention of photography; but then it becomes rather uncomfortable because nobody knows what the photograph really is. As a result, we then don’t include it as part of the pictorial history. But it can’t be isolated from it.

Photo by Richard Schmidt
Self Portrait, London, 13th June 1999, 1999

Those penciled drawings of Ingres were mind-boggling. For one thing their size—how small they turn out to be when you get to see them in person. The images are seldom more than twelve by eight inches, incredibly detailed and incredibly assured. If you draw at all, you know that’s very rare and not at all easy. I bought the catalogue of the Ingres exhibition at the RA, brought it back here to L.A., studied it some more, read every word, blew up some of the drawings on the copier over there, and one morning, studying the blowups, I found myself thinking, "Wait, I’ve seen that line before. Where have I seen that line?" And suddenly I realized, "That’s Andy Warhol’s line" .... In Andy’s case we know he was using a slide projector ... and now look at this, especially the clothes, the fall of the draped cloth, the ruffle around the neck, the gathered sleeve, and then her expression, its palpable freshness: the speed of the line, its boldness, its absolute confidence, no awkwardness, no hesitancy. Of course, Ingres wasn’t using a slide projector, but he might have been using a camera, a refracting instrument of some sort

Self Portrait. Los Angeles. March 1999
Richard Schmidt. Los Angeles. 29th March 1999
Sam. Los Angeles. March 1999
Richard Schmidt. Los Angeles. March 1999
Sarah Howgate. Los Angeles. March 1999
Gregory Evans. Los Angeles. March 1999
Gregory Evans. Los Angeles. March 1999
Bing McGilvray. Los Angeles. March 1999 (& Verso)
Bing McGilvray. Los Angeles. March 1999 (& Verso)
Bing McGilvray. Los Angeles. March 1999 (& Verso)
Richard Schmidt and Paul Kasmin. Los Angeles. March 1999
Ken Wathey I. Bridlington. 30th April 1999 (& Verso)
David Graves I. Bridlington. 30th April 1999
Ken Wathey and Sophie. Bridlington. 30th April 1999
David Graves II. Bridlington. 30th April 1999
Ann Graves I. Bridlington. 30th April 1999
Ann Graves II. Bridlington. 30th April 1999
Ken Wathey II. Bridlington. 30th April 1999
Margaret Hockney. Bridlington. 30th April 1999
Ken Wathey and Sophie. Bridlington. 1st May 1999
Margaret Hockney. Bridlington. 1st May 1999
Paul Hockney. Bridlington. 1st May 1999
Jean Hockney. Bridlington. 1st May 1999
Neil McGregor. London. 4th May 1999
Stephen Stuart-Smith. London. 3rd May 1999
Marco Livingstone. London. 3rd May 1999
Celia Birtwell. London. 3rd May 1999
Arthur Lambert. New York. 6th May 1999
Ricardo Nazario. New York. 6th May 1999
Gregory Evans. New York. 7th May 1999
Ray Charles White. New York. 8th May 1999
Stephen Harwood I. London. 3rd May 1999
Stephen Harwood II. London. 3rd May 1999
Norman Rosenthal. London. 12th May 1999
Nick Tite. London. 12th May 1999
Richard Schmidt. London. 13th May 1999
Ken Wathey. Bridlington. 1st May 1999
Ken Wathey. Bridlington. 17th May 1999
Ken Wathey and Sophie. Bridlington. 16th May 1999
Ken Wathey. Bridlington. 16th May 1999
Ken and Margaret and Sophie. Bridlington. 15th May 1999
Margaret Hockney. Bridlington. 15th May 1999
Margaret Hockney. Bridlington. 16th May 1999
John Hockney. Bridlington. 15th May 1999
Paul Hockney I. Bridlington. 15th May 1999
Paul Hockney II. Bridlington. 15th May 1999
Jean Hockney. Bridlington. 15th May 1999
Pierre Saint-Jean II. Bridlington. 16th May 1999
Pierre Saint-Jean I. Bridlington. 16th May 1999
Janine Ryan. Bridlington. 17th May 1999
Lisa Hockney. Bridlington. 17th May 1999
John Hockney. London. 19th May 1999
Marco Livingstone. London. 20th May 1999
Marco Livingstone. London. 20th May 1999
David Graves. London. 20th May 1999
Annely Juda. London. 20th May 1999
Paul Melia. London. 21st May 1999
Nikos Stangos. London. 21st May 1999
David Plante and Nikos. London. 21st May 1999
Paul Melia. London. 22nd May 1999
Brian Baggott. London. 22nd May 1999
Stephen Harwood I. London. 23rd May 1999
Stephen Harwood II. London. 23rd May 1999
David Juda. London. 24th May 1999
George and Mary Christie. London. 24th May 1999
Alan Bennett. London. 25th May 1999
Alan Bennett. London. 25th May 1999
Rupert. London. 25th May 1999
John Cox. London. 25th May 1999
John Hayes. London. 25th May 1999
David Oxtoby. London. 25th May 1999
Andrew Palmer. London. 25th May 1999
Celia Birtwell. London. 26th May 1999
Albert Clark. London. 26th May 1999
Ian McKellen. London. 27th May 1999
Ian McKellen. London. 27th May 1999
Ian Barker. London. 27th May 1999
Lucky Smith. London. 27th May 1999
Edna O'Brien. London. 28th May 1999
Ken Wathey. London. 29th May 1999
Norman Rosenthal. London. 29th May 1999
Manuela Rosenthal. London. 29th May 1999
Michael Smith. London. 29th May 1999
Stephen Stuart-Smith. London. 30th May 1999
Celia Birtwell I. London. 30th May 1999
Celia Birtwell II. London. 30th May 1999
Margaret Hockney. London. 31st May 1999
Marco Livingstone. London. 31st May 1999
David Graves. London. 31st May 1999
Paul Joyce. London. 2nd June 1999
Sam Joyce I. London. 2nd June 1999
Sam Joyce II. London. 2nd June 1999
Francesco Clemente. London. 3rd June 1999
Colin St. John Wilson. London. 3rd June 1999
Brian Juhos. London. 4th June 1999
Nathan Joyce. London. 5th June 1999
Stephen Harwood. London. 6th June 1999
Ann Graves. London. 6th June 1999
George Lawson. London. 7th June 1999
Mark Haworth-Booth. London. 7th June 1999
Mark Haworth-Booth. London. 7th June 1999
Ann Graves. Baden-Baden. 10th June 1999
Gregory Evans I. London. 13th June 1999
Gregory Evans II. London. 13th June 1999
Damien Gray. London. 13th June 1999
Stephen Stuart-Smith. London. 14th June 1999
Brian Young. London. 15th June 1999
Geordie Greig. London. 16th June 1999
Colin St. John Wilson. London. 16th June 1999
Lindy. Marchioness of Dufferin and Ava. London. 17th June 1999
Bing McGilvray. London. 18th June 1999
Damien Hirst. London. 18th June 1999
Manuel Bagorro. London. 19th June 1999
Celia Birtwell. London. 19th June 1999
Jacob Rothschild. London. 20th June 1999
Jane Kasmin. London. 21st June 1999
Gregory Evans. London. 21st June 1999
Martin Kemp. London. 22nd June 1999
Laura Huston. London. 22nd June 1999
Barry Humphries. London. 22nd June 1999
Jean-Pierre Gonçalves de Lima. London. 23rd June 1999
Jean-Pierre Gonçalves de Lima. London. 23rd June 1999
Ruth Silver. London. 23rd June 1999
Robin Silver. London. 23rd June 1999
Katharine Jones. London. 24th June 1999
Andre Emmerich. London. 25th June 1999
David Graves. London. 25th June 1999
Jacqui Staerck. London. 26th June 1999
Lucian Freud. London. 27th June 1999
Lizzie Spender. London. June 1999
Kay Heymer. London. June 1999

Camera lucida portraits

To draft his own work, Hockney grows adept at using the camera lucida. Asking his friends to sit [NESTED]before this antique device, Hockney explores a new mode for his portrait-making.

At first I found the camera lucida very difficult to use. It doesn’t project real images of the subject, but an illusion of one in the eye. When you move your head everything moves with it, and the artist must learn to make very quick notations to fix the position of the eyes, nose, and mouth to capture "a likeness." It is concentrated work. I persevered and continued to use the method for the rest of the year—learning all the time.

At first I found the camera lucida very difficult to use. It doesn’t project real images of the subject, but an illusion of one in the eye. When you move your head everything moves with it, and the artist must learn to make very quick notations to fix the position of the eyes, nose, and mouth to capture "a likeness." It is concentrated work. I persevered and continued to use the method for the rest of the year—learning all the time.

Brian Young. London. 15th June 1999, 1999
Ray Charles White. Los Angeles. 10th July 1999, 1999