{"id":21281,"date":"2022-03-05T20:37:44","date_gmt":"2022-03-05T20:37:44","guid":{"rendered":"https:\/\/newbloodart.com\/blog\/?p=21281"},"modified":"2023-01-17T22:14:32","modified_gmt":"2023-01-17T22:14:32","slug":"the-arrival-of-spring-david-hockney-and-three-emerging-artists","status":"publish","type":"post","link":"https:\/\/newbloodart.com\/blog\/the-arrival-of-spring-david-hockney-and-three-emerging-artists\/","title":{"rendered":"The Arrival of Spring: David Hockney and Three Emerging Artists"},"content":{"rendered":"
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‘Pool Made with Paper and Blue Ink for Book, from Paper Pools’ David Hockney <\/figcaption><\/figure><\/div>\n\n\n

This March 11th a 1980 David Hockney print of a swimming pool will go on auction at Phillips. <\/a>It\u2019s a \u201cproblem to represent water\u201d says the artist \u201cbecause it can be anything\u2026any colour\u201d. Here Hockney does so with stylistic hallmarks that have become vernacular in contemporary art over his long and hugely successful career. In this print, water is literally denoted through waving lines and is superbly coloured blue, another shorthand for water. It\u2019s estimated to go between $25,000 and $35,000, while another painting, \u2018Nichols Canyon\u2019 (1980) auctioned in 2020<\/a> was sold for $35.5M.<\/p>\n\n\n\n

There’s an exuberance in Hockney\u2019s work that has engendered an enthusiasm in its reception. It provokes us to consider what are the promising qualities in emerging artists \u2013 who are within reach of many more collectors. These artists aren’t copies of this seminal artist (“there’s no such thing as a copy, really” quips Hockney) but invigorated by his work, using it as a point of reference and departure for their own.\u00a0<\/p>\n\n\n

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‘Spring Forest’ Lily Senner, \u00a3700
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With a career beginning in the 1960s Hockney is an artist who to this day \u2013 in his 80s \u2013 continues to innovate, whose work is some of the most widely shown, widely known, and highly valued. Lily Senner<\/a>, New Blood artist based in Newcastle, notes of the pool print that: \u201cYou can feel the depth and coolness of the water, yet on a formal level we enjoy the tactile mark making and vivid, high-key colour scheme.\u201d This print shows how Hockney can take the quotidian \u2013 even the banal \u2013 and render it as the source of shared experience, delight, and awe. As Lily puts it, it\u2019s an \u201cexcellent example of how successful Hockney is at creating sensual yet visually playful scenes.\u201d <\/p>\n\n\n

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‘Tokyo Swim’ Lily Senner, \u00a3450<\/a><\/figcaption><\/figure><\/div>\n\n\n

Lily also uses her gift for colour to the same joyful, liberating effect. The intense hues that saturate her scenes make them pulsate, transfiguring them into an amplified sensory experience whilst carrying out sophisticated perspective and depth. It is the quality of \u201chonesty\u201d that Lily attributes to Hockney, in an artist who \u201ccaptures something extraordinary within relatively ordinary landscapes\u201d that means viewers respond, again and again, to such works. <\/p>\n\n\n

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‘Jesmond Garden, Walled in’ Lily Senner, \u00a3600<\/a><\/figcaption><\/figure><\/div>\n\n\n

\u2018Nichols Canyon\u2019 is also set in California, but for many represents a turning point in Hockney\u2019s career into panoramic landscapes, and is considered his first mature work. It\u2019s exciting to see an artist\u2019s style develop against the consistent backdrop of a particular place, as can be said of Scottish artist Yasmin Davidson, whose move to the Hebridean island of North Uist heralded the current phase of her work. In these paintings it\u2019s manifest the artist is thrilled by her environment, immersed in its vastness. <\/p>\n\n\n

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‘Berne ray Drive Through’ Yasmin Davidson, \u00a3600<\/a><\/figcaption><\/figure><\/div>\n\n
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‘Nichols Canyon’ David Hockney (sold 2020 for $35.3M)<\/figcaption><\/figure><\/div>\n\n\n

The surprising colour choices render this, and are pulled off in bold but complementary combinations. We never forget that we are looking at an image, however truly evocative of the scenery these paintings are. As with Hockney\u2019s series of canyon paintings, there is a monumental quality to Yasmin\u2019s paintings: an interest in the landscape\u2019s memory, its geography shaped by time and human hands. Degrees of realism, brilliant colouring, and the perspectival sense of moving through the landscape, give Hockney\u2019s canyon and Davidon\u2019s Uist alike the preppossing quality that the real and the fantastic are one and the same.<\/p>\n\n\n

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‘Night Drive’ Yasmin Davidson, \u00a3500<\/a><\/figcaption><\/figure><\/div>\n\n\n

An artist who can look at nature with fresh eyes will often find a warm reception. Niall Stevenson\u2019s <\/a>idiosyncratic renderings of the Scottish landscape he traverses near his base in Edinburgh, demonstrate an attentiveness to surroundings, which translates into a distinct aesthetic. \u2018Study for a Landscape (S)\u2019 has a provisional quality, capturing that seasonal feeling of being on the cusp of change, the new spaciousness of the light; also the subject of Hockney\u2019s major exhibit \u2018The Arrival of Spring, Normandy, 2020\u2019 at the Royal Academy. <\/a><\/p>\n\n\n

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‘Study for a Landscape (S)’ Niall Stevenson, \u00a3790<\/a><\/figcaption><\/figure><\/div>\n\n\n

For this cycle of work Hockney embraced new technologies, using his iPad to make images then blown up to a much bigger size to be displayed. In an interview with Artforum,<\/a> Wolfgang Timmons said of these pieces that \u201ceven if the work celebrates new media and technology\u201d when placed next to the more classic oil paintings by the artist they acted as \u201cfoils, to underline, by contrast, the masterly position and unsurpassable value of actual oil on canvas.\u201d Witnessing how an artist is in dialogue with tradition can often be a hallmark of their seriousness, the thoroughness of their training and willingness to experiment; in short, the potential longevity of their work\u2019s value. Niall\u2019s gestural brushwork, and mountain seen through the trees summon Cezzane\u2019s paintings of Montaigne Sainte-Victoir<\/a> but nonetheless feels contemporary: it\u2019s oil paint as it could only be rendered after the advent of the digital screen. <\/p>\n\n\n

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David Hockney, from, ‘The Arrival of Spring, Normandy, 2020’ <\/figcaption><\/figure><\/div>\n\n\n

\u201cHockney\u2019s art is often seen as a conversation with artists of the past\u201d, writes the Guardian,<\/a> <\/em>\u201cEven when painting the Yorkshire Wolds, say, he can’t help alluding to landscapes painted by artists before him.\u201d  This conversation between artists, down the ages and across continents, is a way to to measure their uniquenesses as well as their shared successes. This landscape, this lens, is a means by which to discover the quality of the new; the emerging artists of today to invest in for the future. <\/p>\n\n\n

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‘Landscape (P) [second version]’ Niall Stevenson, \u00a31,000<\/a><\/figcaption><\/figure><\/div>\n\n\n

Words by Maggie <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

This March 11th a 1980 David Hockney print of a swimming pool will go on auction at Phillips. It\u2019s a \u201cproblem to represent water\u201d says the artist \u201cbecause it can be anything\u2026any colour\u201d. Here Hockney does so with stylistic hallmarks that have become vernacular in contemporary art over his long and hugely successful career. In […]<\/p>\n","protected":false},"author":3,"featured_media":21283,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","footnotes":""},"categories":[325,453],"tags":[],"class_list":["post-21281","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-curated-collections","category-investable-artists"],"acf":[],"_links":{"self":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts\/21281","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/comments?post=21281"}],"version-history":[{"count":19,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts\/21281\/revisions"}],"predecessor-version":[{"id":24237,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts\/21281\/revisions\/24237"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/media\/21283"}],"wp:attachment":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/media?parent=21281"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/categories?post=21281"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/tags?post=21281"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}