Martin Gayford Livres

A compact edition of Hockney and Gayford's brilliantly original book, with updated material and brand-new pieces of art Informed and energized by a lifetime of painting, drawing, and making images with cameras, David Hockney, in collaboration with art critic Martin Gayford, explores how and why pictures have been made across the millennia. Juxtaposing a rich variety of images--a still from a Disney cartoon with a Japanese woodblock print by Hiroshige, a scene from an Eisenstein film with a Velazquez paint-ing--the authors cross the normal boundaries between high culture and popular entertainment, and argue that film, photography, paint-ing, and drawing are deeply interconnected. Featuring a revised final chapter with some of Hockney's latest works, this new, compact edition of A History of Pictures remains a significant contribution to the discussion of how artists represent reality.

David Hockney reflects upon life and art as he experiences lockdown in rural Normandy in this inspiring book which includes conversations with the artist and his latest artworks

A new, compact edition of a brilliantly original exploration by David Hockney and Martin Gayford, featuring a revised final chapter and three new artworks. Drawing from a lifetime of creativity, Hockney delves into the history and significance of picture-making, addressing fundamental questions about the nature of images and the interplay between painters and photography. He examines what makes marks on a flat surface compelling, how to depict movement in still images, and the connections between modern media and classical art. By juxtaposing diverse visuals—from Disney cartoons to Hiroshige woodblock prints and Eisenstein films to Velázquez paintings—the authors blur the lines between high culture and popular entertainment, revealing unexpected links across time and artistic forms. Building on Hockney's previous work, they argue for the deep interconnections among film, photography, painting, and drawing. Insightful and thought-provoking, this edition enhances our understanding of how we represent reality, featuring Hockney's latest creations, including a stained-glass window in Westminster Abbey.

“An extraordinary record of a great artist in his studio, it also describes what it feels like to be transformed into a work of art.” ?ARTnews Lucian Freud (1922–2011), widely regarded as the greatest figurative painter of his time, spent seven months painting a portrait of the art critic Martin Gayford. The daily narrative of their encounters takes the reader into that most private place, the artist’s studio, and to the heart of the working methods of this modern master—both technical and subtly psychological. From Man with a Blue Scarf emerges an understanding of what a portrait is, but something else is also created: a portrait, in words, of Freud himself. This is not a biography, but a series of close-ups: the artist at work and in conversation in restaurants, taxis, and his studio. It takes one into the company of the painter who was a friend and contemporary of Pablo Picasso, Alberto Giacometti, and Francis Bacon, as well as writers such as George Orwell and W. H. Auden. Now for the first time as a compact paperback, this book is illustrated with works by Lucian Freud, telling photographs of Freud in his studio, and images by great artists of the past, such as Vincent van Gogh and Titian, who are discussed by Freud and Gayford. Full of wry observations, the book reveals how it feels to pose for a remarkable artist and become a work of art.

At thirty one, Michelangelo was considered the finest artist in Italy, perhaps the world; long before he died at almost 90 he was widely believed to be the greatest sculptor or painter who had ever lived (and, by his enemies, to be an arrogant, uncouth, swindling miser). For decade after decade, he worked near the dynamic centre of events - the vortex at which European history was changing from Renaissance to Counter Reformation. Few of his works - including the huge frescoes of the Sistine Chapel Ceiling, the marble giant David and the Last Judgment - were small or easy to accomplish. Like a hero of classical mythology - such as Hercules, whose statue he carved in his youth - he was subject to constant trials and labours. In Michelangelo Martin Gayford describes what it felt like to be Michelangelo Buonarroti, and how he transformed forever our notion of what an artist could be.

A breathtaking visual biography of Freud, told through his own words, unpublished private photographs, and painted portraits This unprecedented look at the private life of Lucian Freud begins with childhood snapshots and ends with rarely seen photographs made in his studio in the last weeks of his life. In between, the life of one of the most important artists of the twentieth and twenty-first centuries is vividly documented - through family photos, in images of the painter in his studio with some of his most celebrated sitters, and in portraits by his peers, first among them Francis Bacon.

Jonathan Yeo is one of Britain's best-known portrait painters. Coinciding with a retrospective exhibition at London's National Portrait Gallery, this title features his most popular paintings, drawings, collages and prints. It also presents several of his new canvases made especially for the show.

“Sumptuously illustrated, this radiant volume encapsulates what it truly means to be a visual artist.” ― Booklist David Hockney’s exuberant work is highly praised and widely celebrated―he is perhaps the world’s most popular living painter. But he is also something an incisive and original thinker on art.This new edition includes a revised introduction and five new chapters which cover Hockney’s production since 2011, including preparations for the Bigger Picture exhibition held at the Royal Academy in 2012 and the making of Hockney’s iPad drawings and plans for the show. A difficult period followed the exhibition’s huge success, marked first by a stroke, which left Hockney unable to speak for a long period, followed by the vandalism of the artist’s Totem tree-trunk, and the tragic suicide of his assistant shortly thereafter. Escaping the gloom, in spring 2013 Hockney moved back to L.A. A few months later, Martin Gayford visited Hockney in the L.A. studio, where the fully-recovered artist was hard at work on his Comédie humaine, a series of full-length portraits painted in the studio.The conversations between Hockney and Gayford are punctuated by surprising and revealing observations on other artists―Van Gogh, Vermeer, and Picasso among them―and enlivened by shrewd insights into the contrasting social and physical landscapes of Yorkshire, Hockney’s birthplace, and California. 181 illustrations, 154 in color

Focusing on Eileen Cooper RA, this title spans the entire breadth of her career, from her early days as a singular figurative voice in British art, and her exploration of ideas of feminism and femininity in painting, to her mature work, characterized by uninhibited colours bursting with energy, contained by her expressive use of line.

The development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitaj's proposal, made in 1976, that there was a 'substantial School of London' was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley.