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David Hockney

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David Hockney OM   CH   RA
Hockney at the  Centre Pompidou   in 2017
Born	9 July 1937  (age 84) Bradford ,  West Riding of Yorkshire , England
Nationality	British
Education	Bradford School of Art   (1953–1958) Royal College of Art   (1959–1962)
Known for	painting ,  drawing ,  printmaking ,  photography ,  set design
Notable work	A Bigger Splash Mr and Mrs Clark and Percy Portrait of an Artist (Pool with Two Figures) Peter Getting Out of Nick's Pool American Collectors (Fred and Marcia Weisman) Bigger Trees Near Warter A Bigger Grand Canyon Garrowby Hill A Bigger Interior with Blue Terrace and Garden 2017
Movement	Pop art
Awards	John Moores Painting Prize  (1967) Companion of Honour  (1997) Royal Academician Order of Merit   (2012) Honorary doctorate,  Otis College of Art and Design   (1985)[1]

David Hockney ,  OM ,  CH ,  RA   (born 9 July 1937) is an English painter, draftsman, printmaker, 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 20th century.[2] [3]

Hockney has owned a residence and studio in  Bridlington   and London, as well as two residences in California, where he has lived intermittently since 1964: one in the  Hollywood Hills , one in  Malibu , and an office and archives on  Santa Monica Boulevard [4]   in  West Hollywood , California.[5] [6] [7]

On 15 November 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 .[8] [9] [10]   This broke the previous record, set by the 2013 sale of  Jeff Koons '  Balloon Dog (Orange)   for $58.4 million.[11]   Hockney held this record until 15 May 2019, Jeff Koons reclaimed the honour when his  Rabbit   sold for more than $91 million at Christie's in New York.[12]

Contents

Biography [ edit ]

David Hockney was born in  Bradford ,  West Riding of Yorkshire , England, to Laura and Kenneth Hockney (a  conscientious objector   in the  Second World War ), the fourth of five children.[13] [14]   He was educated at Wellington Primary School,  Bradford Grammar School ,  Bradford College   of Art (where his teachers included  Frank Lisle [15]   and his fellow students included  Derek Boshier ,  Pauline Boty , Norman Stevens, David Oxtoby and  John Loker [16] [17] [18] ) and the  Royal College of Art   in London, where he met  R. B. Kitaj .[13]   While there, Hockney said he felt at home and took pride in his work.

At the Royal College of Art, Hockney featured in the exhibition  Young Contemporaries   – alongside  Peter Blake   – that announced the arrival of British  Pop art . He was associated with the movement, but his early works display  expressionist   elements, similar to some works by  Francis Bacon . When the RCA said it would not let him graduate if he did not complete an assignment of a life drawing of a female model in 1962, Hockney painted  Life Painting for a Diploma   in protest. He had refused to write an essay required for the final examination, saying he should be assessed solely on his artworks. Recognising his talent and growing reputation, the RCA changed its regulations and awarded the diploma. After leaving the RCA, he taught at  Maidstone College of Art   for a short time.[19]

Hockney moved to  Los Angeles   in 1964, where he was inspired to make a series of paintings of swimming pools in the comparatively new  acrylic   medium using vibrant colours. The artist lived back and forth among Los Angeles, London, and Paris in the late 1960s to 1970s. In 1974 he began a decade-long personal relationship with Gregory Evans who moved with him to the US in 1976 and as of 2019 remains a business partner.[20]   In 1978 he rented a house in the  Hollywood Hills , and later bought and expanded it to include his studio.[21]   He also owned a 1,643-square-foot beach house at 21039  Pacific Coast Highway   in  Malibu , which he sold in 1999 for around $1.5 million.[22]

Work [ edit ]

Hockney has experimented with painting, drawing, printmaking, watercolours, photography, and many other media including a fax machine, paper pulp, computer applications and iPad drawing programs.[23] The subject matter of interest ranges from still life's 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 [ edit ]

We Two Boys Together Clinging (1961)

Hockney has always 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.[24]   Hockney has repeatedly been drawn to the same subjects – his family, employees, artists Mo McDermott and Maurice Payne, various writers he has known, fashion designers  Celia Birtwell   and  Ossie Clark   (Mr. and Mrs. Clark and Percy , 1970–71), curator  Henry Geldzahler , art dealer  Nicholas Wilder ,[25]   George Lawson and his ballet dancer lover,  Wayne Sleep , and also his romantic interests throughout the years including Peter Schlesinger and Gregory Evans.[26]   Perhaps more than all of these, Hockney has turned to his own figure year after year, creating over 300 self-portraits.[27]

From 1999 to 2001 Hockney used a  camera lucida   for his research into art history as well as his own work in the studio.[28] [29]   He created over 200 drawings of friends, family, and himself using this antique lens-based device.

In 2016, the  Royal Academy   exhibited Hockney's series entitled  82 Portraits and 1 Still-life   which traveled to  Ca' Pesaro   in Venice, Italy, and the  Guggenheim Museum Bilbao , in 2017 and to the  Los Angeles County Museum of Art   in 2018. Hockney calls the paintings started in 2013 "twenty-hour exposures" because each sitting took six to seven hours on three consecutive days.[30]

Printmaking [ edit ]

Hockney experimented with printmaking as early as a lithograph  Self-Portrait   in 1954 and worked in etchings during his time at RCA.[31]   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 .[32]   During the 1960s he produced several series of prints he thought of as 'graphic tales', including  A Rake’s Progress   (1961–63)[33]   after  Hogarth ,  Illustrations for Fourteen Poems from C.P. Cavafy   (1966)[34]   and  Illustrations for Six Fairy Tales from the Brothers Grimm   (1969).[35] [31]

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   (1973–74) and  Contrejour in the French Style   (1974).[31]   In 1976 Hockney created a portfolio of 20 etchings at Crommelynck's atelier,  The Blue Guitar: Etchings By David Hockney Who Was Inspired By Wallace Stevens Who Was Inspired By Pablo Picasso .[36]   The etchings refer to themes in a poem by  Wallace Stevens , "The Man with the Blue Guitar". It 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.[37]

In the summer of 1978, David Hockney stayed 6 weeks with his friend the printer Ken Tyler. Tyler invited Hockney to try a new technique with liquid paper. The process is painting with the paper itself, so the artist had to do it himself by hand. Each image becomes a unique work between printmaking and painting. In 6 weeks, Hockney created a total of 29 artworks with a series of 17 sunflowers and swimming pools.[38]

Some of Hockney's other print portfolios include  Home Made Prints   (1986),[39]   Recent Etchings   (1998) and  Moving Focus   (1984–1986),[40]   which contains lithographs related to  A Walk Around the Hotel Courtyard, Acatlan .   A retrospective of his prints, including 'computer drawings' printed on fax machines and inkjet printers, was exhibited at  Dulwich Picture Gallery   in London 5 February – 11 May 2014 and  Bowes Museum , County Durham 7 June – 28 September 2014, with an accompanying publication  Hockney, Printmaker   by Richard Lloyd.[31]

Photocollages [ edit ]

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"[41] —first using Polaroid prints and subsequently 35mm, commercially processed colour prints. Using  Polaroid   snaps or photolab-prints of a single subject, Hockney arranged a patchwork to make a composite image.[42]   Because the photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with  Cubism , one of Hockney's major aims—discussing the way human vision works. Some pieces are  landscapes , such as  Pearblossom Highway #2 ,[2] [43]   others  portraits , such as  Kasmin 1982, [44]   and  My Mother, Bolton Abbey, 1982. [45]

Creation of the "joiners" occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses. He did not like these 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 realised it created a narrative, as if the viewer moved through the room. He began to work more with photography after this discovery and stopped painting for a while to exclusively pursue this new technique. 

Over time, however, he 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."[46]   Frustrated with the limitations of photography and its 'one-eyed' approach,[47]   he returned to painting.

Other technology [ edit ]

In December 1985 Hockney used the  Quantel Paintbox , a computer program that allowed the artist to sketch directly onto the screen. The resulting work was featured in a  BBC   series that profiled several artists. In 1999–2001, David's sister, Margaret, began experimenting with digital photography, scanning and computer printing, particularly making images of flowers scanning a small Japanese vase and fresh flowers.[48]   In 2003, she was experimenting with  Photoshop , scanning summer flowers and building up images in layers which Margaret printed out on an A3 printer.[49]   In 2004, David went to stay with Margaret and she helped him scan his sketchbook of Yorkshire landscape and David soon began using a  Wacom   pad and pen directly into Photoshop.[50]

Since 2009, Hockney has painted hundreds of portraits, still lifes and landscapes using the Brushes  iPhone [51]   and  iPad [52]   application, often sending them to his friends.[52]   In 2010 and 2011, Hockney visited  Yosemite National Park   to draw its landscape on his iPad.[53]   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.[54]

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 .[55]

Hockney's earlier photocollages influenced his shift to another medium, digital photography. He combined hundreds of photographs to create multi-viewpoint "photographic drawings" of groups of his friends in 2014.[56]   Hockney picked the process back up in 2017, this time using the more advanced Agisoft PhotoScan photogrammetric software which allowed him to stitch together and rearrange thousands of photos. The resulting images were printed out as massive photomurals and were exhibited at  Pace Gallery   and  LACMA   in 2018.[57]

Plein air landscapes [ edit ]

Hockney returned more frequently to Yorkshire in the 1990s, usually every three months, to visit his mother[58]   who died in 1999. He rarely stayed for more than two weeks until 1997,[58]   when his friend  Jonathan Silver   who was terminally ill encouraged him to capture the local surroundings. He did this at first with paintings based on memory, some from his boyhood. In 1998, he completed the painting of the  Yorkshire   landmark,  Garrowby Hill .[59]   Hockney returned to Yorkshire for longer and longer stays, and by 2003 was painting the countryside  en plein air   in both oils and watercolor.[58]   He set up residence and studio in a converted bed and breakfast, in the seaside town of  Bridlington , about 75 mi (121 km) from where he was born.[60]   The oil paintings he produced after 2005 were influenced by his intensive studies in watercolour, a series titled  Midsummer: East Yorkshire   (2003–2004).[61]   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.[58]

In June 2007, Hockney's largest painting,  Bigger Trees Near Warter or/ou Peinture sur le Motif pour le Nouvel Age Post-Photographique , which measures 15 by 40 feet (4.6 by 12.2 m), was hung in the  Royal Academy 's largest gallery in its annual  Summer Exhibition .[62]   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."[63]   In 2008, he donated it to  Tate   in London, saying: "I thought 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."[64]   The painting was the subject of a BBC1 Imagine film documentary by Bruno Wollheim called  David Hockney: A Bigger Picture (2009) which followed Hockney as he worked outdoors over the preceding two years.[65]

Theatre works [ edit ]

Hockney's first stage designs were for  Ubu Roi   at London's  Royal Court Theatre   in 1966,[66]   Stravinsky 's  The Rake's Progress   at the  Glyndebourne Festival Opera   in England in 1975, and  The Magic Flute   for Glyndebourne in 1978.[67]   In 1980, he agreed to design sets and costumes for a 20th-century French triple bill at the  Metropolitan Opera House   with the title  Parade.   The works were  Parade , a ballet with music by  Erik Satie ;  Les mamelles de Tirésias , an opera with libretto by  Guillaume Apollinaire   and music by  Francis Poulenc , and  L'enfant et les sortilèges , an opera with libretto by  Colette   and music by  Maurice Ravel .[68]   The reimagined set of  L'enfant et les sortilèges   from the 1983 exhibition  Hockney Paints the Stage   is a permanent installation at the  Spalding House   branch of the  Honolulu Museum of Art . 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[69]   as well as  Richard Wagner 's  Tristan und Isolde   for the  Los Angeles Music Center Opera   in 1987,[70]   Puccini 's  Turandot   in 1991 at the  Chicago Lyric Opera , and  Richard Strauss 's  Die Frau ohne Schatten   in 1992 at the  Royal Opera House   in London.[67]   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 computerised setup that let him punch in and program lighting cues at will and synchronise them to a soundtrack of the music.[67]

In 2017, Hockney was awarded the  San Francisco Opera   Medal on the occasion of the revival and restoration of his production for  Turandot .[71]

The majority of Hockney's theater works and stage design studies are found in the collection of The David Hockney Foundation.[72]

Exhibitions [ edit ]

David Hockney has been featured in over 400 solo exhibitions and over 500 group exhibitions.[73]   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 organised the first of several major retrospectives, which subsequently travelled to three European institutions.[74]   LACMA also hosted a retrospective exhibition in 1988 which travelled to The  Met , New York, and  Tate , London. In 2004, he was included in the cross-generational  Whitney Biennial , where his portraits appeared in a gallery with those of a younger artist he had inspired,  Elizabeth Peyton .[5]

In October 2006, the  National Portrait Gallery   in London organised 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. In 2009, "David Hockney: Just Nature" attracted some 100,000 visitors at the Kunsthalle Würth in  Schwäbisch Hall , Germany.[58]

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

From 21 January 2012 to 9 April 2012, the Royal Academy presented  A Bigger Picture ,[75]   which included more than 150 works, many of which take entire walls in the gallery's brightly lit rooms. The exhibition is dedicated to landscapes, especially trees and  tree tunnels   of his native Yorkshire.[76]   Works included oil paintings, watercolours, and drawings created on an iPad[77]   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."[78]   The exhibition drew more than 600,000 visitors in under 3 months.[79]   The exhibition moved to the  Guggenheim Museum   in  Bilbao , Spain from 15 May to 30 September, and from there to the  Ludwig Museum   in  Cologne , Germany, between 27 October 2012 and 3 February 2013.[80]

David Hockney (27807337800)

From 26 October 2013 to 30 January 2014  David Hockney: A Bigger Exhibition   was presented at the  de Young Museum , one of the Fine Arts Museums of San Francisco.[81]   The largest solo exhibition Hockney has had, with 397 works of art in more than 18,000 square feet, was curated by Gregory Evans and included the only public showing of  The Great Wall , developed during research for  Secret Knowledge , and works from 1999 to 2013 in a variety of media from camera lucida drawings to watercolors, oil paintings, and digital works.

From 9 February to 29 May 2017  David Hockney   was presented at the  Tate Britain , becoming the gallery's most visited exhibition ever.[82]   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". The show then traveled to  Centre Georges Pompidou   in Paris and  The Metropolitan Museum of Art .[83] [84] [85]   The wildly popular retrospective landed among the top ten ticketed exhibitions in London and Paris for 2017 with over 4,000 visitors per day at the Tate and over 5,000 visitors per day in Paris.[86]

After the blockbuster exhibitions in 2017 of the works of decades past, Hockney moved right along to show his newest paintings on hexagonal canvases and mural-size 3D photographic drawings at  Pace Gallery   in 2018.[87]   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.[88]   In 2019, his early work featured in his native  Yorkshire   at  The Hepworth Wakefield .[89]

Personal life [ edit ]

Hockney is gay[90]   and has explored the nature of gay love in his portraiture. Sometimes, as in  We Two Boys Together Clinging   (1961), named after a poem by  Walt Whitman , the works refer to his love for men. In 1963, he painted two men together in the painting  Domestic Scene, Los Angeles , one showering while the other washes his back.[26]   In summer 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.[91]

On the morning of 18 March 2013, Hockney's 23-year-old assistant, Dominic Elliott, died as a result of drinking drain cleaner at Hockney's Bridlington studio; he had also earlier drunk alcohol and taken cocaine, ecstasy and  temazepam . Elliott was a first- and second-team player for  Bridlington Rugby Club . It was reported that Hockney's partner drove Elliott to  Scarborough   General Hospital where he later died. The inquest returned a verdict of  death by misadventure   and Hockney was never implicated.[92] [93] [94]   In November 2015 Hockney sold his house in Bridlington, a five-bedroomed former guest house, for £625,000, cutting all his remaining ties with the town.[95] [96]

He holds a  California Medical Marijuana Verification Card , which enables him to buy  cannabis   for medical purposes. He has used hearing aids since 1979, but realised he was going deaf long before that.[97]   He keeps fit by spending half an hour in the swimming pool each morning,[98]   and can stand for six hours at the easel.[94]

Hockney has  synaesthetic associations   between sound, colour and shape.[99]

Collections [ edit ]

Many of Hockney's works are housed in  Salts Mill , in  Saltaire , near 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:

• Honolulu Museum of Art
• Museum of Fine Arts, Boston
• National Gallery of Australia , Canberra
• Art Institute of Chicago
• Museum of Fine Arts, Houston
• Louisiana Museum of Modern Art , Humlebæk, Denmark
• National Portrait Gallery , London
• Tate , U.K.
• J. Paul Getty Museum , Los Angeles
• Los Angeles County Museum of Art
• Walker Art Center , Minneapolis
• Metropolitan Museum of Art , New York
• Museum of Modern Art , New York
• Centre Georges Pompidou , Paris
• Fine Arts Museums of San Francisco
• Museum of Contemporary Art , Tokyo
• Aboa Vetus & Ars Nova ,  Turku ,  Finland
• Mumok , Ludwig Foundation, Vienna
• Hirshhorn Museum and Sculpture Garden , Washington, D.C.
• Smithsonian American Art Museum , Washington, D.C.[61]
• Muscarelle Museum of Art , Williamsburg, VA[100]

Recognition [ edit ]

In 1967, Hockney's painting,  Peter Getting Out of Nick's Pool , won the  John Moores Painting Prize   at the  Walker Art Gallery   in Liverpool. Hockney was offered a  knighthood   in 1990 but declined, before accepting an  Order of Merit   in January 2012.[101] [102]   He was awarded The  Royal Photographic Society 's Progress medal in 1988[103]   and the Special 150th Anniversary Medal and Honorary Fellowship in recognition of a sustained, significant contribution to the art of photography in 2003.[104] [105]   He was made a  Companion of Honour   in 1997[106]   and awarded The Cultural Award from the  German Society for Photography   (DGPh).[107]   He is a  Royal Academician .[108]   In 2012, he was appointed to the  Order of Merit , an honour restricted to 24 members at any one time for their contributions to the arts and sciences.[60]

He was a Distinguished Honoree of the National Arts Association, Los Angeles, in 1991 and received the First Annual Award of Achievement from the  Archives of American Art , Los Angeles, in 1993. He was appointed to the Board of Trustees of the American Associates of the Royal Academy Trust, New York in 1992 and was given a Foreign Honorary Membership to the  American Academy of Arts and Sciences , Cambridge, Massachusetts in 1997. In 2003, Hockney was awarded the Lorenzo de' Medici Lifetime Career Award of the Florence Biennale, Italy.[109]

Commissioned by The Other Art Fair, a November 2011 poll of 1,000 British painters and sculptors declared him Britain's most influential artist of all time.[110]   In 2012, Hockney was among the  British cultural icons   selected by artist Sir  Peter Blake   to appear in a new version of his most famous artwork – the Beatles'  Sgt. Pepper's Lonely Hearts Club Band   album cover – to celebrate the British cultural figures of his life that he most admires.[111] [112]

Art market [ edit ]

On 21 June 2006, Hockney's painting  The Splash   sold for £2.6 million.[113]   It was offered for auction again on 11 February 2020, with an estimate of £20–30 million[114]   and sold, to an unknown buyer, for £23.1 million.[115]

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.

A Bigger Grand Canyon , 1998,  National Gallery of Australia .

Beverly Hills Housewife   (1966–67), 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.[5]   This was topped in 2016 when his  Woldgate Woods   landscape made £9.4 million at auction.[116]

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.[117]

David Hockney's 1972 painting  Portrait of an Artist (Pool with Two Figures)

On 15 November 2018, David Hockney's 1972 painting  Portrait of an Artist (Pool with Two Figures)   sold at Christie's for $90.3 million with fees, surpassing the previous  auction record for a living artist   of $58.4 million, held by  Jeff Koons   for one of his  Balloon Dog sculptures.[118]   He had originally sold this painting for $20,000 in 1972.[9]

The Hockney–Falco thesis [ edit ]

Main article:  Hockney–Falco thesis

In the 2001 television programme and book  Secret Knowledge , Hockney posited that the  Old Masters   used  camera obscura   as well as  camera lucida   and lens techniques that projected the image of the subject onto the surface of the painting. Hockney argues that this technique migrated gradually from Northern Europe to Italy, and is the reason for the photographic style of painting we see in the  Renaissance   and later periods of art. He published his conclusions in the 2001 book  Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters , which was revised in 2006.[5]

Public life [ edit ]