Some More New Prints David Hockney
Find out more about Hockney’s Some More New Prints series, browse prints & editions for sale & view the works wanted by active buyers right now.
This series sees Hockney continuing a style he began working with in his Some Very New Paintings series of 1992 and continued through his Some New Prints series the following year. Again we are presented with fantastical landscapes that border on abstraction, with bold colours and a variety of textures that lend the works the depth and complexity we usually find in his works on canvas.
Throughout this series Hockney continues his ode to Cubism, playing with multiple perspectives in homage to Picasso and Braque while also challenging our expectations of the genre by presenting us with a Cubist landscape of Southern California rather than a cafe scene in Paris.
As well as multiple references to Cubism through his distorted and fragmented perspectives the compositions also recall the bold abstractions of Sonia Delaunay and Hockney’s contemporary Howard Hodgkin. As with Some New Prints, the works in this series recall the colourful compositions Hockney produced when he was commissioned to design sets for the opera Die Frau Ohne Schatten, of which he remarked, “These started simply and grew more and more complex. I soon realized that what I was doing was making internal landscapes, using different marks and textures to create space, so that the viewer wanders around.”
These internal landscapes are composed of waves and washes of colour, and a range of marks, from pencil lines to a scratchy ink like effect as well as chunkier brushstrokes which show Hockney manipulating his medium in his characteristically ingenious way. Here rough is combined with smooth, and flatness is given depth through gradient and texture. These unique effects are achieved by combining lithography and screen printing which allowed Hockney to experiment and push the boundaries of printmaking even further.
Going Round presents us with a more painterly style while works such as Slow Rise incorporate monochrome elements that recall his Home Made Prints series which was produced with an office photocopier. Gorge d’Incre introduces more bodily elements to the series, with its fleshy tones and enveloping forms, while Above and Beyond has an almost pastoral quality to it, with its lightly sketched lines and calmer composition and colours.
With their constantly shifting perspectives these works also recall Hockney’s early photo collages which he would use in order to understand how we perceive light and space, and how a viewpoint is limited by the lens of the camera. Here we see him take dozens if not hundreds of photographs of the same view or interior only to piece the individual images back together again to make a composite whole that, Hockney believes, comes closer to what the eye actually sees.
These prints were made in collaboration with the famous Gemini G.E.L. workshop in LA which allowed him to achieve these spectacular effects. The series follows its predecessor in painting very closely and it is truly remarkable to see what the artist and printer have been able to achieve on a flat sheet.
Why is the Some More New Prints series so important?
These prints represent Hockney’s chimera-like ability to keep shifting and experimenting in his approach to printmaking. Though he only began printing because it was the cheaper option for him at art school he has taken it to new heights, by aligning it with his painting and photography practice and seeing where each medium can influence the other.
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