The first time I saw a David Hockney painting was in high school when I had to research, “A Bigger Splash” (1967). I remember an article that talked about how Hockney wanted to capture this instantaneous moment that occurred in a split second and see how it would transform. It took him hours and hours to laboriously paint every detail of the splash, which was ironic because it was of something so quick and inconsequential.
If there is a Hockney hanging in a museum or gallery, it will always be the first thing my eyes are drawn to. His energetic and clean color palette exemplifies California in all of its beauty and idealization. What makes Hockney so fascinating to me is how he was able to capture the exact mood and feeling of a place through the simple paintings of pool scenes of sitting portraits.
Hockney chose what he wanted to give detail to or what he wanted to leave unattended. His paintings of figures are extremely detailed and fleshed out while the pools are broken into geometric patterns and the buildings are just lines and blocks of color. These artificial and bucolic worlds are so enticing, and I find myself mesmerized by the idle and peaceful life of Hockney’s Los Angeles.
I agree with your observation about the clean lines of Hockney’s work as being particularly visually striking. When I look at his paintings, I am also mesmerized by how so few details convey such a vivid image of a place and time.
I love your observation of the juxtaposition of the meticulous detail in Hockney’s depictions of human figures and the simplified blocks of color that represent the surroundings. That comparison is the reason why I love Hockney’s work and it creates the feeling that the moment Hockney is capturing has less to do with the place the people are in or the time it happens and more to do with human interaction and the atmosphere surrounding the scene.