David Hockney: Portraits in Print reveals lesser-known aspects of the celebrated artist
The National Gallery of Australia exhibition showcases the late British artist’s mastery of intimate detail and talent for connection
David Hockney's exhibition, Portraits in Print, currently on display at the National Gallery of Australia (NGA) in Canberra, sheds light on a lesser-known aspect of the celebrated artist's career. For a student of printmaking and life drawing, Hockney's prints first captured his attention during his early years in Australia. The series A Rake’s Progress (1961–63), created after Hockney's first journey from London to New York and back, left a lasting impression, revealing something familiar and comforting.
Spanning three decades from Hockney's six-decade career, Portraits in Print features over 50 works, including those from the early etching series mentioned earlier. While renowned for his colorful, light-filled paintings, Hockney's portraiture holds a special place in this exhibition, showcasing his ability to capture subtle expressions of self and diversity.
It is thanks to his collaboration with master printer Kenneth E. Tyler, who worked with numerous prominent artists from the 1960s until 2001, that many of these works are housed in the NGA's Hockney holdings.
The exhibition takes a unique approach by situating Hockney within a larger network of collaborators, friends, and loved ones. This perspective provides a richer understanding of the artist beyond the traditional narrative of an individual artistic genius. Portraits in Print highlights the influence of various printers and publishers, such as Kenneth E. Tyler and Gemini G.E.L., as well as his romantic partners, close friends, and family members.
Through Hockney's eyes, the exhibition offers intimate glimpses into the lives of these individuals, with details meticulously rendered in a range of media.
Among the artists featured in Portraits in Print are friends and collaborators like Gregory Evans, ceramicist Peter Schlesinger, curator and critic Henry Geldzahler, and textile and fashion designer Celia Birtwell. Personal relationships with Hockney are represented through sketches like Henry with bald patch in the middle of his head (1977) and Portrait of Mother III (1984–86), which capture tender expressions of affection.
Additionally, the exhibition delves into Hockney's artistic influences, particularly his fascination with studying sources like Picasso so intimately that he saw the world through their eyes. An early etching, The student: homage to Picasso (1973), reveals this process as the artist stands face to face with a monument to the Spanish master, engaging in a dialogue of sorts.
In later works such as An image of Gregory and An image of Celia from the Moving focus series (1984–87), Hockney demonstrates his ability to incorporate the styles of his contemporaries while maintaining his unique vision.
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