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David Hockney
Set Relating to Simplified Faces

1973

$431,250
£328,528.56
€378,844.10
CA$610,875.97
A$655,927.96
CHF 352,942.50
MX$7,762,266.50
NOK 4,446,432.45
SEK 4,055,394.57
DKK 2,830,637.41

About the Item

This unique group brings together two successive etching states from 1973 and a closely related oil painting from 1974, offering a rare insight into David Hockney’s early exploration of the philosophy and structure of Cubism. During this period, Hockney was deeply engaged with the legacy of Picasso and the analytical structure of Cubism, examining how the movement fractured and reassembled form. In his Simplified Faces works, he reduces this to its most essential elements, both constructing and deconstructing the human face through the geometry of cones, cylinders, triangles and diamonds. Hockney’s relationship with Picasso begins in 1960 when, still a student, he encountered the Tate’s major Picasso retrospective. The impact was immediate and transformative. He returned eight more times, absorbing the restless invention and audacity that coursed through every room. This early encounter became the foundation of a lifelong dialogue, one that shaped Hockney’s understanding of what art could be and how far it might stretch. Although Picasso’s circle later arranged a meeting between the two, the encounter never took place, as Picasso died before it could happen. The unrealised meeting has since acquired a near prophetic resonance within Hockney’s own mythology, a reminder of the generational handover that almost occurred but instead unfolded through influence rather than conversation. In the years that followed, Hockney drew upon Picasso not as a model to imitate but as an intellectual and imaginative engine, a figure who demonstrated that the visual world could be fractured, reassembled and perceived anew. Picasso’s restless approach to form, his willingness to dismantle conventional perspective and his capacity to move fluently between media provided Hockney with a framework through which he could pursue his own investigations into space, perception and representation. The relationship was less about stylistic inheritance and more about inheriting a spirit of inquiry, a belief that the act of seeing is never fixed and the language of art is always open to reinvention. When Picasso died, Hockney responded with a period of reflection that revealed the extent of his admiration. His work from that time explores ideas of mentorship, lineage and homage, articulating the way Picasso functioned as a guiding presence throughout his formative years. Rather than portraying Picasso through narrative or anecdote, Hockney turned toward symbolism and metaphor to express the magnitude of Picasso’s impact on his work. In doing so he emphasised not only the personal loss he felt but also the deeper sense of artistic kinship that had shaped his journey from the outset, an influence that manifested itself in Hockney’s fascination with the philosophy of Cubism and how it could echo in his own mode. The first etching, State I, presents the fundamental architecture of the idea. Hockney arranges the geometric solids in a spare and linear composition that functions almost like a diagram of Cubist thought, stripped of expression and narrative so that only the underlying structure remains. The second etching, State II, reveals how Hockney allows content to dictate the evolution of form, refining each line until the composition reaches its fullest clarity. Marked Bon à tirer, it represents the printer’s approved working proof, the moment at which artist and printer agree that the plate has achieved its definitive state. This proof becomes the benchmark for the entire edition, capturing the point where experimentation settles into resolved intent and the visual language of the piece reaches its final equilibrium. Together, the two states reveal Hockney’s incremental thinking and his precise understanding of how subtle additions can shift a composition from formal study into something playful and alive. The oil painting made the following year revisits the imagery of the etchings with fresh intent. Rather than replicating the completed print, Hockney returns to the pure shapes and allows them to exist on the canvas with a quiet, almost meditative clarity, creating a distilled and painterly reflection on the Cubist experiment. Seen together, the two etching states and the oil painting form a coherent and intellectually rich narrative. They chart the evolution of a single concept from initial structural inquiry through to expressive elaboration and finally to a contemplative re-examination in paint. Sets of this kind are exceptionally uncommon in Hockney’s oeuvre, and this unique group provides collectors with an eloquent demonstration of the artist’s engagement with Cubism during the early 1970s. David Hockney is a pioneering figure of the 1960s British art movement and one of the most celebrated and prolific artists of the 20th and 21st centuries. Known for his versatility, he has embraced a remarkable range of media, from acrylic painting and photo-collage to digital works created on iPads, as well as full-scale opera set designs. Hockney first gained prominence with his semi-abstract depictions of gay love, before moving to California in 1964, where he immortalised Southern California life in pastel-toned scenes of swimming pools, palm trees and sunlit homes.
  • Creator:
    David Hockney (1937, British)
  • Creation Year:
    1973
  • Dimensions:
    Height: 60 in (152.4 cm)Width: 24 in (60.96 cm)Depth: 2 in (5.08 cm)
  • Medium:
  • Movement Style:
  • Period:
  • Condition:
  • Gallery Location:
    London, GB
  • Reference Number:
    1stDibs: LU2921217492262

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