Hughie O’Donoghue

O’Donoghue was born in England but lived and worked for many years in County Kerry, Ireland. He graduated from Goldsmiths in 1982 and was Artist in Residence at the National Gallery, London from 1984-85.

His work is characterised by an engagement with the past. He uses figuration and abstraction to explore themes of human identity, memory, remembering and experience; and draws on history, mythology and personal records to create works which resonate with emotional intensity.

His printmaking includes very large carborundum plates of figures. He mixes fine grain carborundum, acrylic paste and black acrylic paint. He paints this on the plate with a thick brush, wiping off and reworking the image on the plate before it dries. This makes a complex, multi-layered texture. He often uses aluminium plates. Prints on thick Arches paper.

Hughie O’Donoghue installation at IMMA  2009

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The Measure of All Things Introduction

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‘The Road’

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Lost Histories

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‘Artists never completely control the meaning of their work’

Artist’s Laboratory Royal Academy 2005  review

The Measure of all Things Westminster Abbey 2014

bbc your paintings page

Kurt Jackson

Kurt Jackson (1961-present)

A British painter whose large canvases reflect a concern with natural history, ecology and environmental issues.

The majority of Jackson’s work reflects his commitment to the environment and the natural world within Cornwall, although he also works elsewhere in Britain and mainland Europe; recent projects include bodies of work on theThames, the Avon, the Forth, Ardnamurchan and the Glastonbury Festival series. His paintings frequently carry small commentaries on the scene depicted and show a fascination particularly with the detail of plants and animals within an overall ecology and evoke a calm, spiritual and warm relationship with the landscape, even of apparently bleak scenes.

website

Google images

Kurt Jackson – Royal Academy Thames Revisited Film (2013) You Tube video

Friends of the Earth meets Kurt Jackson You Tube video

 Biography

Born in Blandford, Dorset, he developed an early interest in natural history and landscape. He studied zoology atSt Peter’s College, Oxford, but spent most of his time attending classes at The Ruskin School of Drawing and Fine Art or painting in the countryside around Oxford. In 1984 he and his wife Caroline Jackson moved to Cornwall; currently he lives and works near St Just,Penwith.

He has been Artist in Residence on the Greenpeace ship Esperanza, at the Eden Project and at Glastonbury Festival since 1999. He has an Honorary Doctorate (DLitt) from Exeter University and is an Honorary Fellow of St Peter’s College, Oxford University. He is an ambassador for Survival International and frequently works with Friends of the Earth, Greenpeace, WaterAid, Oxfam, Surfers Against Sewage andCornwall Wildlife Trust. He is an academician of the Royal West of England Academy.

Technique

He paints in mixed media.

Notan studies

notan

Japanese dark, light. A notan painting is a small, quickly executed monochrome painting that consists of simple shapes in a number of flat values.

positive and negative space

barry john raybould:

mass notan: rough plan of disrribution of light and dark shapes. 7 or less shapes.

contour notan: detailed exploration of exact contour of light and dark shapes

limited value study: quick painting in 3,4 or 5 values.

shape simplification. Merge shapes that have similar values into larger shapes of one

 

 

Alex Katz

Alex Katz website

Biography

Images Google

You Tube videos

Painting and printmaking

(from Wikipedia)

Katz’s paintings are defined by their flatness of colour and form, their economy of line, and their cool but seductive emotional detachment. A key source of inspiration is the woodcuts produced by Japanese artist Kitagawa Utamaro.

Beginning in the late 1950s, Katz developed a technique of painting on cut panels, first of wood, then aluminum, calling them “cutouts”. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces.  These works would occupy space like sculptures, but their physicality is compressed into planes, as with paintings. In later works, the cutouts are attached to wide, U-shaped aluminum stands, with a flickering, cinematic presence enhanced by warm spotlights. Most are close-ups, showing either front-and-back views of the same figure’s head or figures who regard each other from opposite edges of the stand.

After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. One Flight Up (1968) consists of more than 30 portraits of some of the leading lights of New York’s intelligentsia during the late 1960s, such as the poet John Ashbery, the art critic Irving Sandler and the curator Henry Geldzahler, who championed Andy Warhol. Each portrait is painted using oils on both sides of a sliver of aluminium that has then been cut into the shape of the subject’s head and shoulders. The silhouettes are arranged predominantly in four long rows on a plain metal table.

Portraits Google

After his Whitney exhibition in 1974, Katz focused on landscapes stating “I wanted to make an environmental landscape, where you were IN it.”

Landscapes Google

In the late 1980s, Katz took on a new subject in his work: fashion models in designer clothing, including Kate Moss and Christy Turlington. “I’ve always been interested in fashion because it’s ephemeral,” he said.

Printmaking

In 1965, Katz also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut, producing over 400 print editions in his lifetime.

Website Print Archive

Linocuts Google

Screenprints Google

David Hockney

website: http://www.hockneypictures.com  – NB strict copyright

Biography timeline

Google images

Hockney is particularly interested in the process of seeing.

Photoshop is Boring

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Lost Secrets of the old masters

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Explaining perspective

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David Hockney, OM CH RA (born 9 July 1937) is an English painter, draughtsman, printmaker, stage designer and photographer. Born with synesthesia, he sees synesthetic colours in response to musical stimuli. This does not show up in his painting or photography artwork, but is a common underlying principle in his designs for stage sets for ballet and opera—where he bases background colours and lighting on the colours he sees while listening to the piece’s music.

Hockney was born in Bradford, England, on 9 July 1937 to Laura and Kenneth Hockney (a conscientious objector in the Second World War), the fourth of five children. He was educated at Wellington Primary School, Bradford Grammar School. Between 1953 and 1957 he studied at Bradford School of Art, then  the Royal College of Art in London, where he met R. B. Kitaj. While there, Hockney said he felt at home and took pride in his work.

1960s Pop Art

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. He often sought ways of reintegrating a personal subject-matter into his art. He began tentatively by copying fragments of poems on to his paintings, encouraging a close scrutiny of the surface and creating a specific identity for the painted marks through the alliance of word and image. These cryptic messages soon gave way to open declarations in a series of paintings produced in 1960–61 on the theme of homosexual love.

When the RCA said it would not let him graduate in 1962, Hockney drew the sketch The 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.

Painting

A visit to California in 1963 inspired him to make a series of paintings of swimming pools. It is clear that when he moved to that city it was, at least in part, in search of the fantasy that he had formed of a sensual and uninhibited life of athletic young men, swimming pools, palm trees and perpetual sunshine. Hockney changed from oil to acrylic paints, applying them as a smooth surface of flat and brilliant colour that helped to emphasise the pre-eminence of the image. By the end of the decade Hockney’s anxieties about appearing modern had abated to the extent that he was able to pare away the devices and to allow his naturalistic rendering of the world to speak for itself.
Hockney returned more frequently to Yorkshire in the 1990s, usually every three months, to visit his mother who died in 1999. He rarely stayed for more than two weeks until 1997, 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. Hockney returned to Yorkshire for longer and longer stays, and by 2005 was painting the countryside en plein air. He set up residence and an immense redbrick seaside studio, a converted industrial workspace, in the seaside town of Bridlington, about 75 miles from where he was born. The oil paintings he produced after 2005 were influenced by his intensive studies in watercolour (for over a year in 2003–2004). He created paintings made of multiple smaller canvases—nine, 15 or more—placed together. To help him visualize work at that scale, he used digital photographic reproductions; each day’s work was photographed, and Hockney generally took a photographic print home.

In June 2007, Hockney’s largest painting, Bigger Trees Near Warter, which measures 15 feet by 40 feet, was hung in the Royal Academy’s largest gallery in its annual Summer Exhibition. 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.” In 2008, he donated it to the Tate Gallery 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.”

Hockney was commissioned to design the cover and pages for the December 1985 issue of the French edition of Vogue. Consistent with his interest in cubism and admiration for Pablo Picasso, Hockney chose to paint Celia Birtwell (who appears in several of his works) from different views, as if the eye had scanned her face diagonally.

The “joiners” : photocollages

Photographs do not see space. We see space. Without vanishing points

In the early 1980s, Hockney began to produce photo collages, which he called “joiners”, first using Polaroid prints and subsequently 35mm, commercially-processed color prints. Using Polaroid snaps or photolab-prints of a single subject, Hockney arranged a patchwork to make a composite image. An early photomontage was of his mother. 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, others portraits, such as Kasmin 1982, and My Mother, Bolton Abbey, 1982.

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 realized 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. Frustrated with the limitations of photography and its ‘one eyed’ approach, however, he returned to painting.

Computer art

In December 1985, Hockney used the Quantel Paintbox, a computer program that allowed the artist to sketch directly onto the screen. Using the program was similar to drawing on the PET film for prints, with which he had much experience. The resulting work was featured in a BBC series that profiled a number of artists.

Since 2009, Hockney has painted hundreds of portraits, still lifes and landscapes using the Brushes iPhone and iPad application, often sending them to his friends. His show Fleurs fraîches (Fresh flowers) was held at La Fondation Pierre Bergé in Paris. A Fresh-Flowers exhibit opened in 2011 at the Royal Ontario Museum in Toronto, featuring more than 100 of his drawings on 25 iPads and 20 iPods. In late 2011, Hockney revisited California to paint Yosemite National Park on his iPad. For the season 2012–2013 in the Vienna State Opera he designed, on his iPad, a large scale picture (176 sqm) as part of the exhibition series Safety Curtain, conceived by museum in progress.

Google images for iPad art

iphone drawings

 Portraits

Hockney painted portraits at different periods in his career. From 1968, and for the next few years he painted friends, lovers, and relatives just under lifesize and in pictures that depicted good likenesses of his subjects. Hockney’s own presence is often implied, since the lines of perspective converge to suggest the artist’s point of view. Hockney has repeatedly returned to the same subjects – his parents, artist Mo McDermott (Mo McDermott, 1976), 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,[15] George Lawson and his ballet dancer lover, Wayne Sleep.

Hockney is openly gay, and unlike Andy Warhol, whom he befriended, he openly 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. Already in 1963, he painted two men together in the painting Domestic Scene, Los Angeles, one showering while the other washes his back. In summer 1966, while teaching at UCLA he met Peter Schlesinger, an art student who posed for paintings and drawings.

David Hockney’s portraits in crayon, ink, water colour and paint show an amazing sensitivity in treatment and line.

Google images of David Hockney portraits

In October 2006 National Portrait Gallery in London organized 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.

See article on 2006 exhibition at the National Portrait Gallery by Janet McKenzie

A Bigger Picture exhibition

From 21 January 2012 to 9 April 2012, the Royal Academy presented A Bigger Picture, 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. Works include oil paintings and watercolours inspired by his native Yorkshire. Around 50 drawings were created on an iPad 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.” 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.

Video of exhibition

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Printmaker

Hockney produced many lithographs and etchings – mostly of a mischievous nature or portraits.

 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 a ready-made art collection.
In 1976, at Atelier Crommelynck, Hockney created a portfolio of 20 etchings, The Blue Guitar: Etchings By David Hockney Who Was Inspired By Wallace Stevens Who Was Inspired By Pablo Picasso.  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.

‘Hockney, Printmaker’, curated by Richard Lloyd, International Head of Prints at Christie’s, was the first major exhibition to focus on Hockney’s prolific career as a printmaker. The exhibition ran from 5 February 2014 to 11 May 2014 at Dulwich Picture Gallery before going on tour to The Bowes Museum, Barnard Castle. It featured his series ‘The Rake’s Progress’ and ??.

Google images for printmaking

Review and video of Dulwich art gallery exhibition

Telegraph Review of Dulwich exhibition

Current

Hockney moved to Los Angeles in 1964, returned to London in 1968, and from 1973 to 1975 lived in Paris. He moved to Los Angeles in 1978, at first renting the canyon house he lived in and later bought the property and expanded it to include his studio. 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.

He currently lives in Bridlington, East Riding of Yorkshire, and Kensington, London. Hockney maintains two residences in California, where he lived on and off for over 30 years: one in Nichols Canyon, Los Angeles, and an office and archives on Santa Monica Boulevard in West Hollywood.
(from Tate website and Wikipedia)