The Massacre and the Problems of Depiction, after Picasso
2003

Watercolor shows in London

The extent of Hockney’s investment in a fresh medium within his long-established practice is revealed in two exhibitions in London, Five Double Portraits at the National Portrait Gallery and Painting on Paper at Annely Juda Fine Art. Together they attest to the broad subject matter and scale of Hockney’s work in watercolor, from portraiture to still-life. Of Hockney’s landscapes in particular, Adrian Searle writes in the Guardian: “Here is full, saturated colour, a greater freedom and playfulness .... These paintings are not afraid of their own joyful decorativeness .... Hockney is great at rocks and black glaciers, Iceland with its examples of weather, the Naples yellow horizon light at Nordkapp, and the white sun indistinguishable from the moon. Under the northern light, Hockney almost finds himself visionary.”

Nathan and Sam Joyce
Lauren, Dawn, Simon and Matthew Hockney
Studio Paint Trolley
Self Portrait in Oval Mirror
Self Portrait in Black Jacket and Tie
Self Portrait in Black Sweater
Self Portrait in Black T-Shirt
Self Portrait in Mirror

The Massacre and the Problems of Depiction

Hockney is daily occupied with more investigations into watercolor, working in his Los Angeles garden and studio as of early in the year, while his theoretical contributions to art history continue to stir debate at conferences such as “Optics, Optical Instruments and Painting: The Hockney–Falco Thesis Revisisted,” which he attends in Ghent. He resumes his address of the camera’s role in painting, this time its role as a witness in the massive, seven-sheet watercolor The Massacre and the Problems of Depiction. In Hockney’s take on Picasso’s epic work Massacre in Korea (1951), a hooded photographer is added, shooting the titular scene with a large-format camera.

The Massacre and the Problems of Depiction, after Picasso, 2003

[Picasso’s Massacre in Korea] was generally dismissed as propaganda and compared very unfavorably with Guernica [1937], and was rarely discussed again. Years later, on seeing it in the Picasso show at MoMA [in New York], I was struck by it. It stayed with me, and I began to see another interpretation. In 1950, images from the Second World War were still vivid and shocking; recovery from the war was just under way, when news of a new conflict far away from Paris arrived .... My point is that his image is a universal one, yet Picasso realized that the photographs were after the event, indeed in a way not telling us the terrible brutal activity of the camps but of the survivors—the few against the terrible number of deaths. So his painting is perhaps a painter’s response to the limitations of photography, limitations that are still with us, and need some debate today.

Study Sketch for 'The Massacre and the Problems of Depiction', 2003

Norway, London, and Los Angeles

Hockney makes a second trip to Norway, where he continues to capture its natural beauty in watercolor. Back in London and then L.A., he continues [NESTED] painting double-portraits, his dogs, various interiors, and his L.A. garden.

Self Portrait with Red Braces, 2003
Self Portrait with Red Braces, 2003
Study for 'House. Midfjord'
Setting Sun. Midfjord
Midfjord. Birches, First Version
Rorbu. Vestrefjord
Sun and Trees. Midfjord 2nd Version
Still Life with Palette. Norway
Fjord and Meadow
Midfjord. Birches. Second Version
Sun and Trees. Midfjord. Third Version
Near Trollstiggen
Car Parked. Vestrefjord
Cloud. Vestrefjord
Gregory Reading. Vestrefjord
Interior. Vestrefjord
Sun and Sea. Fragment.
The House. Vestrefjord
House. Vestrefjord
Bergen Harbour
Midnight Sun, Norway
Midnight Sun, Norway II
Sun and Sea, Norway
Sun Study
Sun and Sea Study
Sunset, Norway
Looking into the Sun
In the Garden. Pembroke Studios
Edwardes Square. London
Cactus Garden III
Los Angeles Studio
View from Terrace II
Four Views of Montcalm Terrace
Boodgie Sleeping I
Boodgie, February 15, 2003
Boodgie Moving Around the Kitchen

Exhibitions

Solo

  • Five Double Portraits, National Portrait Gallery, London (Jan 16–Jun 29).
  • Painting on Paper, Annely Juda Fine Art, London (Jan 17–Mar 1); catalogue.
  • David Hockney, Leslie Sacks Fine Art, Los Angeles (Feb 1–22).
  • David Hockney, Kunstverein Ulm (Jul 20–Aug 31).
  • Gravures et lithographies, Galerie Lelong, Paris (Nov 5–Dec 23).

Group

  • Focus on the Figure, Palm Springs Desert Museum (Jan 23–Feb 16).
  • Splendid Pages: The Molly and Walter Bareiss Collection of Modern Illustrated Books, Toledo Museum of Art, Toledo, OH (Feb 14–May 11); catalogue.
  • Forty Years, Richard Gray Gallery, New York (May 3–May 31); travels to Richard Gray Gallery, Chicago (Sep 5–Oct 3).
  • Editions Alecto: A Fury for Prints. Artist’s Prints and Multiples 1960–1981, Whitworth Art Gallery, Manchester (May 14–Aug 14); travels to Bankside Gallery, London (Sep) and City Arts Centre, Edinburgh (Oct).
  • Looking at Photographs: 125 Masterpieces from the Museum of Modern Art, State Hermitage Museum, St. Petersburg (Jun 21–Aug 31); travels to Pushkin State Museum of Fine Arts, Moscow.
  • Reverie: Works from the Collection of Douglas S. Cramer, Speed Art Museum, Louisville (Jul 22–Oct 5); catalogue.
  • A Bigger Splash: British Art from Tate, 1960–2003, Pavilhão Lucas Nogueira Garcez (Aug 4–Oct 26) and Instituto Tomie Ohtake (Aug 5–Sep 21), Sao Pãulo; catalogue.
  • Made in California: Selections from the Frederick R. Weisman Art Foundation Collection, Todd Madigan Gallery, California State University, Bakersfield (Sep 12–Nov 15).

Publication

Publication

  • Hockney’s Portraits and People, with texts by Kay Heymer and Marco Livingstone, London: Thames & Hudson.

Film

Film

  • David Hockney: Double Portrait, 49 min., directed by Christopher Swayne and Bruno Wollheim.

Honors

Honors

  • Honorary degree, Academy of Fine Arts, Florence.
  • Lorenzo de’Medici Lifetime Career Award, Florence Biennale.