{"id":546,"date":"2026-06-16T17:06:44","date_gmt":"2026-06-16T17:06:44","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=546"},"modified":"2026-06-16T17:06:44","modified_gmt":"2026-06-16T17:06:44","slug":"david-hockneys-hidden-depths","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=546","title":{"rendered":"David Hockney\u2019s Hidden Depths"},"content":{"rendered":"
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In 1972, when David Hockney was thirty-four years old, he was a guest on \u201cDesert Island Discs,\u201d the long-running British radio program in which an interviewee is asked to name the handful of musical tracks that they would choose for company, were they to become a solitary castaway. Hockney, already one of the best-known British artists of his time, who, despite his relative youth, had been the subject of a major retrospective at the Whitechapel Gallery in London two years earlier, spoke with genial self-assurance to the show\u2019s host, Roy Plomley, offering a selection that was uncontroversially pleasing to the ear, and, at the same time, quietly subversive. First, Hockney chose Glenn Gould\u2019s rendering of Liszt\u2019s arrangement for piano of Beethoven\u2019s Fifth Symphony, describing it as \u201cquite amusing,\u201d\u00a0and adding, \u201cWhen I first heard it, which isn\u2019t too long ago, I kept laughing.\u201d (This reaction, he acknowledged, \u201cisn\u2019t usual for Beethoven, but I did enjoy it.\u201d) Later on, he picked Jeanette MacDonald performing \u201cSan Francisco,\u201d from the musical movie of the same name\u2014only because, he noted, it referred to California, his home for a good part of the previous decade. He called it \u201ca very pretty song,\u201d and added, \u201cReally, I like it because it used to be sung by a marvellous drag queen in a bar which isn\u2019t there anymore in San Francisco.\u201d He strayed, with nonchalance, into what would have been unfamiliar cultural territory to most listeners: \u201cHe actually looked like her in the film, and on a swing, and swung out into the bar, and it was really terrific.\u201d<\/p>\n

Read more I Am Your Dad\u2019s Nest Camera and I Am Ready for Shit to Go Down<\/a><\/p>\n

Each week, Plomley also asked his guest to select the one book\u2014in addition to the Bible and the complete works of Shakespeare\u2014with which they would want to be marooned. Proust, Tolstoy, and the Encyclopedia Britannica are frequent selections, but Hockney went in a different direction. \u201cWell, I decided that the only kind of book you\u2019d really want to read and reread a lot, really, would be a pornographic book\u2014otherwise you might fantasize too much on the island,\u201d he said. He chose a pulpy paperback, \u201cRoute 69,\u201d by one Floyd Carter, which, he said, he thought was out of print. \u201cI think it was written by a little man in an office on Forty-second Street, and it\u2019s full of bad grammar and spelling mistakes, but quite touching, in a way, and it covers a great deal of interesting things,\u201d he offered mildly.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Known for his colorful, light-filled portraits, landscapes, and still-lifes, many of them depicting friends or lovers, Hockney, who died last week, in London, at the age of eighty-eight, became a beloved public figure early in his career, with a creativity that never curdled and a popularity that never waned. In the United Kingdom, which he left in the nineteen-sixties and to which he returned throughout the years, his death was important enough to be announced by news alerts. His life was celebrated in admiring headlines and remembrances that noted his continuous exploration of the possibilities of his art form. Like his contemporaries R. B. Kitaj and Peter Blake, Hockney participated in a British expression of Pop art, making figurative paintings in bright colors. He remained loyal, always, to drawing\u2014a millennia-old technology, he would remark, that could hardly be cast aside in a generation, despite the privileging of conceptual art by so many of his peers. Nonetheless, he also embraced the new: he was among the first artists to make work on an iPad, creating still-lifes and landscapes in a 2011 series titled \u201cThe Arrival of Spring,\u201d works that he produced in East Yorkshire. He reprised the motif for a series made in France during the COVID<\/em>-19 lockdown of 2020, in which he observed and quietly celebrated the gradual return of new life as he moved further and further into his own old age.<\/p>\n

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The death of an old man after a life well lived is never a tragedy; but it is a loss, and Hockney has been mourned throughout the kingdom, including by King Charles himself. The monarch\u2014who, like his mother, the late Queen Elizabeth, had reportedly angled to be painted by Hockney, without success\u2014issued a statement describing the artist as \u201ca giant of the world of art and painting, a Yorkshireman through and through and a dear friend and inspiration to so many.\u201d Charles also remarked on the bright-yellow Crocs that Hockney wore, with a checkered suit, to a lunch held, in 2022, for members of the Order of Merit. (Hockney was appointed to the order, one of the most prestigious honors in Britain, in 2012, though he had turned down a knighthood in 1990.) The King said, \u201cI trust they will see him tread safely into the hereafter as we mourn a man whose irrepressible charm, talent and constant innovation will be most sorely missed, but whose dazzling creativity lives on in galleries and museums around the world.\u201d<\/p>\n

Exhibitions of his work were reliable blockbusters for British institutions. His 2012 show at the Royal Academy was the second most visited by daily attendance, bested only by Monet; his retrospective at Tate Britain, in 2017, is still the museum\u2019s most visited show. His appeal to a general audience was understandable: his paintings were representational, legible to a nonspecialist, aesthetically pleasing, and filled with beauty. What\u2019s not to like? At the same time, his work offered substance and complexity beneath the often beguiling surface. One of his best-known paintings, \u201cA Bigger Splash,\u201d which Hockney made in 1967 and which became part of the permanent collection of the Tate in 1981, shows a modernist house flanked by a pair of skinny palm trees, before which extends a brilliant-blue swimming pool equipped with a yellow diving board. There is no one in sight, but the surface of the water bursts with evidence of someone having just dived in, disappearing into the cool aqueous depths. The painting is suggestive of heat, with the palm trees offering no shade, and of a full-body relief from that heat: someone\u2014probably male, probably young, almost certainly beautiful\u2014is about to emerge from the pool\u2019s sublimity, gasping with pleasure.<\/p>\n

Read more Gustavo Dudamel and James Conlon Bid L.A. Goodbye<\/a><\/p>\n

\u201cA Yorkshireman through and through\u201d is a clich\u00e9 that implies integrity, bluntness possibly edging into bloody-mindedness, and a fierce pride in this northern part of the nation. Hockney certainly showed that regional loyalty, despite spending long stretches of his life in London, in the U.S., and in France. In his sixties, he returned to Yorkshire, painting brilliantly colored landscapes that would go on to be paired, in an exhibition in Amsterdam titled \u201cThe Joy of Nature,\u201d with the works of van Gogh. Hockney was born in Bradford, a city with roots that date to the Saxons, which became an important hub, in the nineteenth century, for the wool trade and the textile industry. He attended Bradford Grammar School, where he quickly learned that art studies were reserved for the least academically minded students, and thereafter studiously maintained grades dismal enough to be placed in the bottom set. Hockney was fortunate in his choice of parents: his father, an accountant\u2019s clerk and a maverick tinkerer, and his mother, a Methodist and a vegetarian, gave him object lessons in unconventionality: Hockney\u2019s younger brother, John Hockney, once wrote a family memoir titled \u201cThe Hockneys: Never Worry What the Neighbours Think.\u201d At sixteen, Hockney attended art school in Bradford, and then\u2014after completing two years of national service, working in hospitals\u2014went on to the Royal College of Art in London. On graduating, he was awarded the school\u2019s top prize, the Gold Medal for Work of Outstanding Distinction. He wore a gold-colored jacket to the ceremony. While his jacket wasn\u2019t real gold lam\u00e9, he noted, \u201cTheir medal wasn\u2019t gold, either.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Despite the fact that homosexuality among men was not decriminalized in England until 1967 (and even then, only partially so), Hockney felt little pressure to hide his sexuality. But it wasn\u2019t until he moved to California, in the early sixties, that he seems to have felt the freedom to relax into it. He made works that were, at the time, revelatory in their depiction of ordinary gay life, and charged with a sense of joy and freedom that has insured their lasting popularity. His \u201cpool paintings,\u201d including \u201cA Bigger Splash,\u201d remain his most iconic works, despite the fact that he made only a dozen or so of them. They capture a kind of carefree milieu that manages to be suggestively hedonistic while being almost Edenic in the loving treatment of male nudity. \u201cPeter Getting Out of Nick\u2019s Pool,\u201d from 1966, shows a young man seen from behind, thigh deep in water patterned with squiggly waves: Adam not just before the fall but before the arrival of Eve.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Even with knowledge of the losses, both societal and individual, to which Hockney was witness\u2014the devastation of the AIDS<\/em> epidemic, which decimated his generation of gay men; the tragic death, in 2013, of one of his assistants, after a drug binge\u2014one can see that his work bends always toward the light. Although a genius at depicting indolence, Hockney himself worked with a rigorous commitment. \u201cI work most of the time because it excites me and gives me very great pleasure and because if I didn\u2019t work I wouldn\u2019t know what else to do,\u201d he wrote, in the early nineties, in a piece in the Independent<\/em> about his father\u2019s death. The urge to share one\u2019s perceptions, he went on, was common among artists. \u201cIt seems to me that, however rotten you might think the world is, it is always possible that there is something quite good about it. This makes me to a certain extent an optimistic person.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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In an interview given in 2018\u2014published on the day his painting \u201cPortrait of an Artist (Pool with Two Figures)\u201d sold at auction for just over ninety million dollars, at the time a record-breaking sum for a living artist\u2014Hockney talked about the challenge of painting the glassy, rippling surface of swimming-pool water with a perhaps surprising reference to the work of George Herbert, the seventeenth-century clergyman and poet. He quoted, from memory, lines from a poem titled \u201cThe Elixir\u201d: \u201cA man that looks on glass,\u00a0\/ On it may stay his eye;\u00a0\/ Or if he pleaseth, through it pass,\u00a0\/ And then the heav\u2019n espy.\u201d Herbert was speaking of the presence of God in everything; but to Hockney the words were equally applicable to optics, a science in which he took a profound interest. (He did extensive research into the way in which artists from Vermeer to Caravaggio may have used optical devices in their work.) After flying into the Los Angeles airport for the first time, in the early sixties, casting his eye over the patchwork of pools below, Hockney recalled in the interview, he discerned how Herbert\u2019s words could offer insight to his own practice. \u201cI realized in California the swimming pools were a bit like this,\u201d he said. \u201cYou could look on the surface of the water, or you could look through it.\u201d Herbert was describing transcendence, which is also what Hockney\u2019s best works can make a viewer feel: the splash of water that, in reality, takes seconds to dissipate, captured over weeks of careful brushwork, then held in place forever on the canvas. Just as Hockney did, these works draw us in with their winning superficies only to hold us rapt with their enduring depths.\u00a0\u2666<\/p>\n

Read more How Tina Fey Wrote the Most Realistic\u2014and Optimistic\u2014Marriage on TV<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Rebecca Mead on the death of the painter, who will be remembered for his masterful explorations of color and light, and his awareness of life\u2019s shadows.<\/p>\n","protected":false},"author":1,"featured_media":545,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[],"class_list":["post-546","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-postscript"],"yoast_head":"\nDavid Hockney\u2019s Hidden Depths - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=546\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"David Hockney\u2019s Hidden Depths - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"Rebecca Mead on the death of the painter, who will be remembered for his masterful explorations of color and light, and his awareness of life\u2019s shadows.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cityrelocationnews.com\/?p=546\" \/>\n<meta property=\"og:site_name\" content=\"City Relocation News\" \/>\n<meta property=\"article:published_time\" content=\"2026-06-16T17:06:44+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=546#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=546\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/#\\\/schema\\\/person\\\/3e7ce0c0c60d21e12a5ac61fb2b786d4\"},\"headline\":\"David Hockney\u2019s Hidden Depths\",\"datePublished\":\"2026-06-16T17:06:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=546\"},\"wordCount\":1962,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=546#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cityrelocationnews.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/8b2ac8f46eac9db1e98082e203b9f944.webp\",\"articleSection\":[\"Postscript\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/cityrelocationnews.com\\\/?p=546#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=546\",\"url\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=546\",\"name\":\"David Hockney\u2019s Hidden Depths - 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