Description

Encountering the work of Alan Davie (1920-2014) at Wakefield Art Gallery in 1958, a young David Hockney (b.1937) was struck by Davie's landmark Abstract Expressionist paintings, which mirrored and stimulated his own fledgling experimentation with colourful abstraction. Juxtaposing the remarkable early work of two greats of post-war painting, this book provides an original perspective on an important aspect of two significant artistic careers.

A richly illustrated text demonstrates points of convergence — such as the painterly surface, passion and poetry, and an exploration of text within the pictorial frame — while also presenting divergence, moving the discussion beyond comparison to reveal a moment when each artist expanded the expressive potential of the painted canvas.

Seeking to suggest new relationships and continuities between two generations previously segregated, this beautifully produced publication is ambitious in its intention, pushing the boundaries of traditional interpretations of British art history.

Alan Davie and David Hockney: Early Works

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£24.99

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Paperback / softback by Eleanor Clayton , Helen Little

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Short Description:

Encountering the work of Alan Davie (1920-2014) at Wakefield Art Gallery in 1958, a young David Hockney (b.1937) was struck... Read more

    Publisher: Lund Humphries Publishers Ltd
    Publication Date: 01/10/2019
    ISBN13: 9781848223752, 978-1848223752
    ISBN10: 1848223757

    Number of Pages: 112

    Non Fiction , Art & Photography

    Description

    Encountering the work of Alan Davie (1920-2014) at Wakefield Art Gallery in 1958, a young David Hockney (b.1937) was struck by Davie's landmark Abstract Expressionist paintings, which mirrored and stimulated his own fledgling experimentation with colourful abstraction. Juxtaposing the remarkable early work of two greats of post-war painting, this book provides an original perspective on an important aspect of two significant artistic careers.

    A richly illustrated text demonstrates points of convergence — such as the painterly surface, passion and poetry, and an exploration of text within the pictorial frame — while also presenting divergence, moving the discussion beyond comparison to reveal a moment when each artist expanded the expressive potential of the painted canvas.

    Seeking to suggest new relationships and continuities between two generations previously segregated, this beautifully produced publication is ambitious in its intention, pushing the boundaries of traditional interpretations of British art history.

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