Word: hockney
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Dates: during 1970-1979
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...closely identified themselves with particular groups or movements. Some of the work is familiar to a U.S. audience: the sumptuous paranoia of Francis Bacon's images (TIME, April 7) basking like altarpieces behind their glittering shields of glass and gold leaf; the cool, infrangible poise of David Hockney's still lifes and portraits. Pierre Alechinsky, the Belgian painter, is represented by a group of delectably complex, exuberant paintings, swarming with organic life like microscope slides rendered in calligraphy. There is a group of Sobreteixims by the 82-year-old Joan Miro, hangings woven from thick knotted clumps...
...American background. Smith remains a very English artist. No matter what the style, English art has never felt like American, and one of the differences has to do with sociability. Smith's work is quite conversational in its ease of style. Like Caro's or Hockney's, it is permeated with a casual, offhand rightness about material, color and meetings of shape, but it is not polemical. No proposition about the future of art is being shoved in one's face. Hence its unlikeness to New York painting in the '60s, to that clamor...
...looking grim there for a while, say around the time of the feature documentary on Artist David Hockney with the scene of all those naked young men jumping into a swimming pool in slow motion. During its second and final week, however, the New York Film Festival pulled itself together and recovered smartly. Notes on some of the more outstanding selections...
...when Hockney tackles the least promising of subjects in French Shop, 1971. The building is all facade; nothing stirs. It is hardly more than a doll's house with a sign on it. The vacancy is such that one needs time to notice the brilliant precision with which every shape is disposed on the canvas...
...Hockney makes a delicate caricature of high seriousness; one is never sure whether he is offering the chair or whisking it away. Thus his paintings occupy a very fine edge between poignancy and burlesque, submitting neither to the expressionist flavor of one nor to the cartooning of the other. What his work amounts to is a visual comedy of manners. Hockney's vision is both courteous and sharp; he is the Anthony Powell of painting...