Lightning. 1973. 4-color lithograph and screenprint. Scottish Arts Council 139; M.C.A.T. 130. Edition 98, #81 (there were also 26 artist's proofs). 30 3/4 x 25 1/4 (sheet 38 3/4 x 31 1/4). The Weather Series. Printed on the full sheet of Arjomari paper. Published by Gemini G.E.L., Los Angeles, with their blindstamps and inkstamp on the verso. Signed, dated and numbered in red crayon; titled in blue crayon. $26,000.
British painter, draughtsman, printmaker, photographer, and designer. After a brilliant prize-winning career as a student at the Royal College of Art, Hockney had achieved international success by the time he was in his mid-20s, and has since consolidated his position as by far the best-known British artist of his generation. In 1964, he moved to Los Angeles and produced an important swimming pool painting. Subequently, the Californian swimming pool has been one of his favourite themes.
In 1973, he produced a Weather series. In tackling weather as a subject, David Hockney looked to 19th-century Japanese u-kioye woodblock prints by Katsushika Hokusai and impressionist paintings by Claude Monet. Both artists depicted a wide range of atmospheric and lighting conditions in serial formats—Hokusai most famously in his prints of Mount Fuji and Monet in his well-known paintings of grain stacks, Rouen Cathedral, and other subjects. Hockney’s Snow, in which repetitive horizontal bands of tonal gradation suggest spatial recession, is most explicitly indebted to Japanese woodcuts, while the hazy silhouettes of Hockney’s Mist recall Monet’s painting of poplar trees on the River Epte.
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