A picture, says David Hockney, is the only way that we can give an account of what we see. But all picture-makers face a common problem: how to compress three-dimensional people, things and places onto a flat surface? The results are often pigeonholed as paintings, photographs or films. Alternatively, they may be sorted by date and style: medieval, Renaissance or baroque. In fact, Hockney argues, whether they are made by brush, camera or digital program, and no matter if they are on cave walls or computer screens, first and foremost they are all pictures. And for us to understand how we see the world around us - and hence ourselves - what is needed is a history of pictures. This is that book.
Informed and energized by a lifetime of painting, drawing and making images with cameras, Hockney, in collaboration with the art critic Martin Gayford, explores how and why pictures have been made across the millennia. What makes marks on a flat surface interesting? How do you show movement in a still picture, and how, conversely, do films and television connect with old masters? What are the ways in which time and space can be condensed into a static image on a canvas or screen? What do pictures show - truth or lies? Do photographs present the world as we experience it?
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 Velázquez painting - the authors cross the normal boundaries between high culture and popular entertainment, and make unexpected connections across time and media. Building on Hockney's groundbreaking book Secret Knowledge, they argue that film, photography, painting and drawing are deeply interconnected. Insightful and thought-provoking, A History of Pictures is an important contribution to our appreciation of how we represent our reality.
A picture, says David Hockney, is the only way that we can give an account of what we see. But all picture-makers face a common problem: how to compress three-dimensional people, things and places onto a flat surface? The results are often pigeonholed as paintings, photographs or films. Alternatively, they may be sorted by date and style: medieval, Renaissance or baroque. In fact, Hockney argues, whether they are made by brush, camera or digital program, and no matter if they are on cave walls or computer screens, first and foremost they are all pictures. And for us to understand how we see the world around us - and hence ourselves - what is needed is a history of pictures. This is that book.
Informed and energized by a lifetime of painting, drawing and making images with cameras, Hockney, in collaboration with the art critic Martin Gayford, explores how and why pictures have been made across the millennia. What makes marks on a flat surface interesting? How do you show movement in a still picture, and how, conversely, do films and television connect with old masters? What are the ways in which time and space can be condensed into a static image on a canvas or screen? What do pictures show - truth or lies? Do photographs present the world as we experience it?
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 Velázquez painting - the authors cross the normal boundaries between high culture and popular entertainment, and make unexpected connections across time and media. Building on Hockney's groundbreaking book Secret Knowledge, they argue that film, photography, painting and drawing are deeply interconnected. Insightful and thought-provoking, A History of Pictures is an important contribution to our appreciation of how we represent our reality.
1. Pictures, Art and History • 2. Pictures and Reality • 3. Making Marks • 4. Shadows • 5. Picturing Space and Time • 6. Brunelleschi’s Window and Alberti’s Mirror • 7. Mirrors and Reflections • 8. Paper, Paint and Multiplying Pictures • 9. Painting the Stage and Staging Paintings • 10. Caravaggio and the Academy of the Lynx-Eyed • 11. Vermeer and Rembrandt: the Hand, the Lens and the Heart • 12. Truth and Beauty in the Age of Reason • 13. The Camera Before and After 1839 • 14. Photography, Truth and Painting • 15. Painting with and without Photography • 16. Snapshots and Moving Pictures • 17. Movies and Stills • 18. The Unending History of Pictures
David Hockney and Martin Gayford discuss the 30,000-year-old history of pictures in one brilliantly original volume
Martin Gayford is art critic for The Spectator and the author of
acclaimed books on Van Gogh, Constable and Michelangelo. He is the
author of Man with a Blue Scarf, Rendez-vous with Art and A Bigger
Message. He has collaborated with David Hockney on A Bigger
Message: Conversations with David Hockney and A History of
Pictures, and has co-written a volume of travels and conversations
with Philippe de Montebello: Rendez-vous with Art.
David Hockney is considered one of the most influential British
artists of the 20th century. He has produced work in almost every
medium - painting, drawing, stage design, photography and
printmaking - and has stretched the boundaries of all of them. Born
in Bradford, England, in 1937, Hockney attended art school in
London before moving to Los Angeles in the 1960s. There, he painted
his famous swimming pool paintings. In a 2011 poll of more than
1,000 British artists, Hockney was voted the most influential
British artist of all time. He continues to create and exhibit
art.
'I won’t read a more interesting book all year ... utterly
fascinating' - A. N. Wilson, Sunday Times
'A magic flight of a book … It’s a measure of Hockney’s vividness
of perception that he can always put a cap on Gayford’s knowledge …
Fabulous!' - Clive James, Guardian
'Hockney asks big questions about the nature of picture-making and
the relationship between painters and photography in a way that no
other contemporary artist seems to do … Enormously good-humoured
and entertaining … On almost every page, there is an interesting
provocation' - Andrew Marr, New Statesman
'An eloquent conversational testimony to the vividness of life
lived through intelligent looking. You will see Caravaggio and
Citizen Kane with fresh eyes' - Daily Telegraph
'Crisps up perceptions and help readers to look anew' - The Times
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