Measurements are given in inches and centimetres; height before width. New colour illustrations provided for this revised edition have been kindly supplied by David Hockney Inc., Los Angeles. All David Hockney works are © 2017 David Hockney.
Page 2 Man in Shower in Beverly Hills, 1964. Acrylic on canvas, 65½ × 65½ (167 × 167). Collection Tate, London 1 The Start of the Spending Spree and the Door Opening for a Blonde from A Rake’s Progress, 1961–63. Etching and aquatint. Edition of 50, 18 × 23 (45.7 × 58.4) 2 Portrait of My Father, 1955. Oil on canvas, 20 × 16 (51 × 41). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 3 Moorside Road, Fagley, 1956. Oil on canvas, 19¼ × 28 (48.9 × 71.1). Photo Credit: The Public Catalogue Foundation, London. Collection Bradford Museums & Galleries, Cartwright Hall, Bradford, England 4 ALAN DAVIE Discovery of the Staff, 1957. Oil on board, 48 × 60 (122 × 153). Ferens Art Gallery, Hull, England © The Estate of Alan Davie. All rights reserved. DACS 2017 5 Skeleton, 1959. Pencil, 41 × 27⅝ (104.1 × 70.1) 6 Growing Discontent, 1959–60. Oil on board, 48 × 36 (122 × 91) 7 Tyger, 1960. Oil and pencil on board, 30 × 20 (76 × 51) 8 R. B. KITAJ The Red Banquet, 1960. Oil and collage on canvas, 48 × 48 (122 × 122). National Museums and Galleries, Merseyside, Walker Art Gallery, Liverpool. Copyright R. B. Kitaj Estate 9 Second Love Painting, 1960. Oil and sand on canvas, 10 × 8 (25.4 × 20.3) 10 Queer, 1960. Oil and sand on canvas, 10 × 7 (25.4 × 17.8) 11 Study for Doll Boy (No. 2), 1960. Oil on canvasboard, 29½ × 19¼ (74.9 × 48.9). Photo Credit: Sotheby’s 12 PABLO PICASSO Las Meninas, 2 October 1957. Oil on canvas, 63⅜ × 50¾ (161 × 129). Museo Picasso, Barcelona © Succession Picasso/DACS, London 2017 13 JEAN DUBUFFET II tient la Flûte et le Couteau, 1947. Oil on canvas, 51 × 38¼ (129.5 × 97.1). Private collection, London © ADAGP, Paris and DACS, London 2017 14 Adhesiveness, 1960. Oil on board, 50 × 40 (127 × 102). Photo Credit: Paul Oszvald. Collection Modern Art Museum of Fort Worth, Texas 15 We Two Boys Together Clinging, 1961. Oil on board, 48 × 60 (122 × 153). Photo Credit: Prudence Cuming Associates. Collection Arts Council, Southbank Centre, London 16 The Most Beautiful Boy in the World, 1961. Ink, gouache, 19½ × 27½ (49.6 × 69.8) 17 The Fourth Love Painting, 1961. Oil and Letraset on canvas, 36 × 28⅛ (91 × 71.5) 18 Going to be a Queen for Tonight, 1960. Oil on board, 47¼ × 33½ (120 × 85). Photo Credit: Prudence Cuming Associates. Collection Royal College of Art, London 19 The Cha-Cha that was Danced in the Early Hours of 24th March 1961, 1961. Oil on canvas, 68 × 60½ (173 × 158) 20 FRANCIS BACON Figure in a Landscape, 1945. Oil and pastel on canvas, 57 × 50½ (145 × 128). Collection Tate, London 21 JASPER JOHNS Target with Plaster Casts, 1955. Encaustic and collage on canvas with objects, 51 × 44 (129.5 × 111.8). David Geffen, Los Angeles © Jasper Johns/VAGA, New York/DACS, London 2017 22 First Tea Painting, 1960. Oil on canvas, 29½ × 13 (74 × 33) 23 Kingy B, 1962. Oil on canvas, 47 × 35 (119 × 90) 24 Myself and My Heroes, 1961. Etching in black with aquatint. Edition of 50, approximately 10¼ × 19¾ (26 × 50.1) 25 Receiving the Inheritance from A Rake’s Progress, 1961–63. Etching and aquatint. Edition of 50 approximately 15¼ × 22½ (38.7 × 57.1) 26 WILLIAM HOGARTH The Rake’s Progress, Plate 1, 1735. Engraving, I2⅝ × 15¼ (32 × 38.7) 27 A Grand Procession of Dignitaries in the Semi-Egyptian Style, 1961. Oil on canvas, 84 × 144 (214 × 367) 28 Figure in a Flat Style, 1961. Oil on two canvases with wood, 88⅝ × 34⅛ (225 × 89.4) overall. Photo Credit: Pinakothek der Moderne, Munich 29 Tea Painting in an Illusionistic Style, 1961. Oil on canvas, 91 × 32 (231 × 81.3). Collection Tate, London 2015 30 Flight into Italy – Swiss Landscape, 1962. Oil on canvas, 72 × 72 (183 × 183). Photo Credit: Prudence Cuming Associates. Collection Stiftung Museum Kunstpalast, Dusseldorf 31 Picture Emphasizing Stillness, 1962. Oil and Letraset on canvas, 62 × 72 (158 × 183). Photo Credit: Christie’s 32 The First Marriage (A Marriage of Styles I), 1962. Oil on canvas, 72 × 84¼ (183 × 214). Collection Tate, London 33 The Second Marriage, 1963. Oil, gouache and collage on canvas, 77¾ × 90 (198 × 229). Photo Credit: National Gallery of Victoria, Melbourne. Collection National Gallery of Victoria, Melbourne 34 Domestic Scene, Broadchalke, Wilts, 1963. Oil on canvas, 72 × 72 (183 × 183) 35 Standing Figure (Study for Domestic Scene, Notting Hill), 1963. Ink on paper, 22 × 15 (56 × 38). Photo Credit: Richard Schmidt 36 Domestic Scene, Notting Hill, 1963. Oil on canvas 72 × 72 (183 × 183) 37 Domestic Scene, Los Angeles, 1963. Oil on canvas, 60 × 60 (153 × 153) 38 Boy Taking a Shower, 1962. Crayon and pencil on paper, 15½ × 11½ (39.5 × 29) 39 Play Within a Play, 1963. Oil on canvas and plexiglass, 72 × 78 (183 × 198) 40 DOMENICHINO Apollo Killing Cyclops, 17th century. Detached fresco, 124½ × 75 (316.3 × 190.4). Trustees of the National Gallery, London 41 Viareggio, 1962. Coloured pencil on paper, 28½ × 22¼ (72 × 56.5) 42 Shell Garage, Luxor, 1963. Coloured crayon on paper, 12¼ × 19¼ (31 × 49) 43 Man in Lobby, Hotel Cecil, Alexandria, 1963. Ink on hotel stationery, 11 × 8⅝ (28 × 22) 44 Square Figure Marching, 1964. Coloured crayon, 11 × 14 (28 × 35.5) 45 Boy About to Take a Shower, 1964. Coloured pencil on paper, 13⅝ × 10⅛ (33.3 × 25.4). Photo Credit: Frank J. Thomas 46 Nude Boy, Los Angeles, 1964. Pencil and coloured pencil on paper, 12¼ × 10 (31 × 25.5). Photo Credit: Christie’s 47 Two Figures by Bed with Cushions, 1964. Crayon. Dimensions unknown 48 Man in Shower in Beverly Hills, 1964. Acrylic on canvas, 65½ × 65½ (167 × 167). Collection Tate, London 49 Building, Pershing Square, Los Angeles, 1964. Acrylic on canvas, 58 × 58 (147 × 147) 50 Wilshire Boulevard, Los Angeles, 1964. Acrylic on canvas, 36 × 24 (91 × 61) 51 Picture of a Hollywood Swimming Pool, 1964. Acrylic on canvas, 36 × 48 (91 × 122). Photo Credit: Prudence Cuming Associates 52 Different Kinds of Water Pouring into a Swimming Pool, Santa Monica, 1965. Acrylic on canvas, 72 × 60 (183 × 153) 53 Iowa, 1964. Acrylic on canvas, 60 × 60 (153 × 153). Collection Hirshhorn Museum, Smithsonian Institution, Washington, D.C., gift of Joseph H. Hirshhorn 54 Portrait Surrounded by Artistic Devices, 1965. Acrylic on canvas, 60 × 72 (153 × 183). Collection Arts Council, Southbank Centre, London 55 Blue Interior and Two Still Lifes, 1965. Acrylic on canvas, 59¾ × 59¾ (152 × 152). Collection Virginia Museum of Fine Arts, Richmond 56 Picture of a Pointless Abstraction Framed Under Glass from A Hollywood Collection, 1965. Lithograph in six colours. Edition of 85, 30¼ × 22¼ (78 × 56.5) 57 American Collectors (Fred & Marcia Weisman), 1968. Acrylic on canvas, 84 × 120 (214 × 305). Photo Credit: Richard Schmidt. Collection Art Institute of Chicago, restricted gift of Mrs Frederick Pick 58 Bob, ‘France’, 1965. Pencil and crayon, 19 × 22¾ (49 × 58) 59 Michael and Ann Upton, 1965. Crayon on paper, 10¾ × 13 (27.3 × 33) 60 Kenneth Hockney, 1965. Pen and ink on paper, 18⅞ × 12 (48 × 30.5). Collection Museums Sheffield, England 61 Boys in Bed, Beirut, 1966. Ink on paper, 12½ × 10 (31.7 × 25.4) 62 In the Dull Village from Illustrations for Fourteen Poems from C. P. Cavafy, 1966–67. Etching. Editioned. 22½ × 15½ (57 × 39) 63 Portrait of Cavafy II from Illustrations for Fourteen Poems from C. P. Cavafy, 1966–67. Etching. Editioned. 31½ × 22½ (80 × 57) 64 Cleanliness is Next to Godliness, 1964. Silkscreen in five colours. Edition of 40, 36½ × 23 (93 × 58.5). Photo Credit: Richard Schmidt 65 Polish Army from Ubu Roi, 1966. Crayon, 14½ × 19½ (37 × 50). Photo Credit: Museum of Modern Art/Art Resource, NY. Collection Museum of Modern Art (MoMA), New York 66 The Polish Royal Family from Ubu Roi, 1966. Crayon on paper, 14½ × 19½ (37 × 50). Photo Credit: Christie’s 67 California Art Collector, 1964. Acrylic on canvas, 60 × 72 (153 × 183). Photo Credit: Richard Schmidt 68 Beverly Hills Housewife, 1966–67. Acrylic on canvas, 72 × 144 (183 × 366). Photo Credit: Richard Schmidt 69 PIERO DELLA FRANCESCA The Flagellation of Christ, 1455. Tempera on panel, 23¼ × 32 (59 × 81.5). Galleria Nazionale delle Marche, Urbino 70 Betty Freeman, Beverly Hills, 1966. Black and white photograph. Collection David Hockney 71 Peter Getting Out of Nick’s Pool, 1966. Acrylic on canvas, 84 × 84 (214 × 214). Photo Credit: Richard Schmidt. Collection Walker Art Gallery, Liverpool 72 Photograph taken for painting Peter Getting Out of Nick’s Pool, 1966. Colour polaroid photograph 73 Sunbather, 1966. Acrylic on canvas, 72 × 72 (183 × 183). Collection Museum Ludwig, Cologne 74 Portrait of Nick Wilder, 1966. Acrylic on canvas, 72 × 72 (183 × 183) 75 Nick Wilder, 1966. Colour photograph from a 35mm negative 76 Peter, La Plaza Motel, Santa Cruz, 1966. Pencil on paper, 14 × 17 (35.5 × 43). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 77 Peter Schlesinger, 1967. Ink, 14 × 17 (35.5 × 43) 78 Dream Inn, Santa Cruz, October 1966, 1966. Pencil and crayon on paper, 14 × 17 (35.5 × 43). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 79 Peter Having a Bath in Chartres, 1967. Watercolour on paper, 13 × 16 (33 × 41) 80 The Room, Tarzana, 1967. Acrylic on canvas, 96 × 96 (244 × 244). Photo Credit: Peter Mallet 81 FRANÇOIS BOUCHER Reclining Girl (Mademoiselle O’Murphy), 1751. Oil on canvas, 23½ × 28¾ (59 × 73). Walraf-Richartz Museum, Cologne 82 EDWARD HOPPER Evening Wind, 1921. Etching, 7 × 8⅜ (17.8 × 2I.3) 83 The Room, Manchester Street, 1967. Acrylic on canvas, 96 × 96 (244 × 244) 84 A Table, 1967. Acrylic on canvas, 60 × 60 (153 × 153). Photo Credit: Christie’s 85 RENÉ MAGRITTE Souvenir de Voyage III, 1951. Oil on canvas, 33 × 25½ (83.8 × 64.7). Private collection © ADAGP, Paris and DACS, London 2017 86 A Bigger Splash, 1967. Acrylic on canvas, 96 × 96 (244 × 244). Collection Tate, London 87 A Lawn Being Sprinkled, 1967. Acrylic on canvas, 60 × 60 (153 × 153). Photo Credit: Richard Schmidt 88 Fred and Marcia Weisman, Beverly Hills, 1968; Fred Weisman, Beverly Hills, 1968; Marcia Weisman, Beverly Hills, 1968. Colour and black and white photographs 89 Christopher Isherwood and Don Bachardy, 1968. Acrylic on canvas, 83½ × 119½ (212 × 304) 90 Christopher Isherwood, March 1968. Black and white photographs from 35mm negatives 91 Santa Monica, 1968. Black and white photograph from a 35mm negative 92 Henry Geldzahler and Christopher Scott, 1969. Acrylic on canvas, 84 × 120 (214 × 305). Photo Credit: Richard Schmidt 93 Henry Geldzahler, 1968. Black and white photograph from a 35mm negative 94 Christopher Scott, 1968. Black and white photograph from a 35mm negative 95 JACQUES-LOUIS DAVID Madame Récamier, 1800. Oil on canvas, 68⅜ × 96 (173 × 243). Louvre, Paris 96 Swimming Pool, Le Nid du Duc, October 1968. Colour photograph from a 35mm negative 97 L’Arbois, Sainte-Maxime, 1968. Acrylic on canvas, 44 × 60 (113 × 153) 98 Hotel L’Arbois, Sainte-Maxime, October 1968. Squared-up colour photograph from a 35mm negative 99 Early Morning, Sainte-Maxime, 1968. Acrylic on canvas, 48 × 60 (122 × 153) 100 The Enchantress with the Baby Rapunzel from Illustrations for Six Fairy Tales from the Brothers Grimm, 1969. Etching. Edition of 100 Portfolio and 100 Book-D, 17¾ × 16¼ (45 × 41) Photo Credit: Richard Schmidt 101 The Sexton Disguised as a Ghost Stood Still as Stone from Illustrations for Six Fairy Tales from the Brothers Grimm, 1969. Etching. Edition of 100 Portfolio and 100 Book-D, 17½ × 12½ (44.5 × 32) Photo Credit: Richard Schmidt 102 The Pot Boiling from Illustrations for Six Fairy Tales from the Brothers Grimm, 1969. Etching. Edition of 100, 17¾ × 16¼ (45 × 41). Photo Credit: Richard Schmidt 103 Armchair, 1969. Ink on paper, 17 × 14 (43 × 35.5). Collection Baltimore Museum of Art 104 Peter, 1969. Etching in black. Edition of 75, 37 × 28¼ (94 × 71.8) 105 Flowers Made of Paper and Black Ink, 1971. Lithograph. Edition of 50, 39¼ × 37½ (99.7 × 95.2) 106 Still Life with T.V., 1969. Acrylic on canvas, 48 × 60 (122 × 153). Photo Credit: Christie’s 107 Le Parc des Sources, Vichy, 1970. Acrylic on canvas, 84 × 120 (214 × 305). Photo Credit: Chatsworth House Trust 108 Three Chairs with a Section of a Picasso Mural, 1970. Acrylic on canvas, 48 × 60 (122 × 153) 109 Mr. and Mrs. Clark and Percy, 1970–71. Acrylic on canvas, 84 × 120 (214 × 305). Collection Tate, London 110 Rubber Ring Floating in a Swimming Pool, 1971. Acrylic on canvas, 36 × 48 (91.5 × 122) 111 Hotel de la Mamounia, Marrakesh, March 1971. Colour photograph from a 35mm negative 112 Portrait of an Artist (Pool with Two Figures), 1972. Acrylic on canvas, 84 × 120 (214 × 305). Photo Credit: Art Gallery of New South Wales/Jenni Carter 113 Le Nid du Duc, April 1972. Colour photographs from 35mm negatives 114 Peter, Kensington Gardens, April 1972. Photographic collage 115 Pool and Steps, Le Nid du Duc, 1971. Acrylic on canvas, 72 × 72 (183 × 183) 116 Still Life on a Glass Table, 1971. Acrylic on canvas, 72 × 108 (183 × 274.4) 117 A Glass Table with Glass Objects, 1967. Ink on paper. Dimensions unknown 118 Chair and Shirt, 1972. Acrylic on canvas, 72 × 72 (183 × 183) 119 Royal Hawaiian Hotel, Honolulu, 11 November 1971. Colour photograph 120 VINCENT VAN GOGH The Chair and the Pipe, 1888–89. Oil on canvas, 36⅛ × 28¾ (92 × 73). Trustees of the National Gallery, London (Courtauld Fund) 121 The Island, 1971. Acrylic on canvas, 60 × 72 (152 × 183). Collection Tochigi Prefectural Museum of Fine Arts 122 Mt. Fuji and Flowers, 1972. Acrylic on canvas, 60 × 48 (153 × 122). Photo Credit: Metropolitan Museum of Art. Collection Metropolitan Museum of Art, New York, Mrs Arthur Hays Sulzberger Gift Fund 123 Mark, Suginoi Hotel, Beppu, 1971. Coloured crayon on paper, 17 × 14 (43 × 35.5) 124 Sun from The Weather Series, 1973. Lithograph and screenprint. Edition of 98, 37½ × 30¾ (95.2 × 78.5). Gemini G.E.L. Photo Credit: Richard Schmidt 125 Rain from The Weather Series, 1973. Lithograph and screenprint. Edition of 98, 39 × 30½ (99 × 80). Gemini G.E.L. Photo Credit: Richard Schmidt 126 Celia in a Black Dress with Red Stockings, 1973. Crayon on paper, 25½ × 19½ (65 × 49.5). Collection National Gallery of Australia, Canberra 127 Celia, 1973. Lithograph. Edition of 52, 42¾ × 28½ (108.5 × 72.4). Gemini G.E.L. Photo Credit: Richard Schmidt 128 Contre-Jour in the French Style – Against the Day dans le Style-Français, 1974. Oil on canvas, 72 × 72 (183 × 183). Collection Ludwig Museum, Budapest 129 Window, Grand Hotel, Vittel, 1970. Crayon on paper, 17 × 14 (43 × 35.5) 130 Rue de Seine, 1972. Etching, aquatint. Edition of 150, 35 × 28 (90 × 71) 131 Study for Portrait of Nick Wilder & Gregory Evans, 1974. Crayon on paper, 19½ × 25¼ (49.5 × 64.7) 132 George Lawson & Wayne Sleep, 1972–75. Acrylic on canvas, 80 × 120 (203 × 305). Photo Credit: Richard Schmidt. Collection Tate, London. Presented by the artist, 2014 133 Self-Portrait with Blue Guitar, 1977. Oil on canvas, 60 × 72 (153 × 183). Photo Credit: Richard Schmidt. Museum of Modern Art, Ludwig Foundation, Vienna 134 Artist and Model, 1973–74. Etching. Edition of 100, 29½ × 22½ (75 × 57) 135 Heads, 1973. Ink and crayon on paper, 14 × 17 (35.5 × 43) 136 Cubistic Sculpture & Shadow, 1971. Oil on canvas, 48 × 36 (122 × 91). Collection The David Hockney Foundation 137 Showing Maurice the Sugar Lift, 1974. Etching. Edition of 75, 36 × 28 (91 × 72) 138 Invented Man Revealing Still Life, 1975. Oil on canvas, 36 × 28½ (91 × 72.4). Collection Nelson-Atkins Museum of Art, Kansas City, gift of Mr and Mrs William L. Evan, Jr 139 FRA ANGELICO The Dream of the Deacon Justinian, 15th century. Tempera on panel, 14½ × 17¾ (37 × 45). Museo di S. Marco, Florence. Photograph Borgi 140 Churchyard at Night from The Rake’s Progress (Act III Scene 2), 1974–75. Three-dimensional model in coloured inks and felt tip pen on card, 16 × 21 × 12 (41 × 53.3 × 30.5) 141 Bedlam from The Rake’s Progress (Act III Scene 3), 1974–75. Three-dimensional model in coloured inks and felt-tip pen on card, 16 × 21 × 12 (41 × 53.3 × 30.5) 142 Drawing for design for Roland Petit’s ballet Septentrion, 1975. Coloured crayon on paper, 14 × c. 28 (35.5 × c. 71) 143 Kerby (After Hogarth) Useful Knowledge, 1975. Oil on canvas, 72 × 60 (183 × 153). Photo Credit: Prudence Cumings Associates. Collection Museum of Modern Art (MoMA), New York; gift of the artist and J. Kasmin and the Advisory Committee Fund, 1977 144 My Parents and Myself (work destroyed), 1975. Oil on canvas, 72 × 72 (183 × 183) 145 My Parents, 1977. Oil on canvas, 72 × 72 (183 × 183). Collection Tate, London 146 Mother c. 1976–77. Photographic collage 147 Joe McDonald, 1976. Lithograph. Edition of 99, 41¾ × 29½ (106 × 75). Gemini G.E.L. 148 Henry with Cigar, 1976. Lithograph. Edition of 25, 10¾ × 10½ (27.5 × 26.5). Gemini G.E.L. 149 Gregory with Gym Socks, 1976. Lithograph. Edition of 14, 31½ × 18¾ (80 × 47.5). Gemini G.E.L. 150 Tick it, Tock it, Turn it True from The Blue Guitar, 1976–77. Etching. Edition of 200, 20¾ × 18 (52.7 × 34.5) 151 Model with Unfinished Self-Portrait, 1977. Oil on canvas, 60 × 60 (153 × 153) 152 Looking at Pictures on a Screen, 1977. Oil on canvas, 74 × 74 (188 × 188). On permanent loan to Walker Art Center, Minneapolis, from the collection of Mrs Miles Q. Fiterman 153 Mother, Bradford, 18th Feb., 1978. Sepia ink on paper, 14 × 11 (35.5 × 28). Collection The David Hockney Foundation 154 A Rocky Landscape from The Magic Flute (Act I Scene 1), 1977. Gouache on foamcore, 26½ × 41 (67.3 × 104). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 155 Sarastro’s Kingdom from The Magic Flute (Act I Scene 3), 1977. Gouache on foamcore. 26½ × 41 (67.3 × 104). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 156 Outside the Temple from The Magic Flute (Act II Scene 2) 1977. Gouache on foamcore, 30 × 41 (76.2 × 104). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 157 Midnight Pool (Paper Pool 10), 1978. Coloured and pressed paper pulp, 72 × 85½ (183 × 218). Tyler Graphics Ltd 158 Le Plongeur (Paper Pool 18), 1978. Coloured and pressed paper pulp, 72 × 171 (183 × 435). Tyler Graphics Ltd. Collection Bradford Museums & Galleries, Bradford, England 159 Santa Monica Blvd. (detail), 1978–80. Acrylic on canvas, 86 × 240 (218.4 × 609.6) 160 Canyon Painting, 1978. Acrylic on canvas, 60 × 60 (153 × 153). Photo Credit: Sotheby’s 161 Nichols Canyon, 1980. Acrylic on canvas, 84 × 60 (213.3 × 153). Photo Credit: Prudence Cumings Associates 162 Celia Amused, 1979. Lithograph. Edition of 100, 40 × 29 (102 × 73.6). Gemini G.E.L. 163 Divine, 1979. Acrylic on canvas, 60 × 60 (153 × 153). Photo Credit: Richard Schmidt. Collection Carnegie Museum of Art, Pittsburgh, gift of Richard M. Scaife, 1982 164 Kas Reading “Professor Seagull”, 1979–80. Acrylic and charcoal on board, 60 × 40 (153 × 101.6) 165 R. B. KITAJ Moresque, 1975–76. Oil on canvas, 96 × 30 (244 × 76.2). Museum Boijmans Van Beuningen, Rotterdam 166 The Conversation, 1980. Acrylic on canvas, 60 × 60 (153 × 153) 167 Ravel’s Garden with Night Glow from L’enfant et les sortilèges, 1980. Oil on canvas, 60 × 72 (153 × 183) 168 Les Mamelles de Tirésias, 1980. Oil on canvas, 36 × 48 (91 × 122) 169 Two Dancers, 1980. Oil on canvas, 48 × 72 (122 × 183) 170 HENRI MATISSE La danse, 1910. Oil on canvas, 101⅝ × 153½ (258.1 × 389.8). Hermitage Museum, St Petersburg. © Succession H. Matisse/DACS 2017 171 Harlequin, 1980. Oil on canvas, 48 × 36 (122 × 91). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 172 Mulholland Drive: The Road to the Studio, 1980. Acrylic on canvas, 86 × 243 (218 × 617). Photo Credit: Richard Schmidt. Collection Los Angeles County Museum of Art (LACMA), purchased with funds provided by the F. Patrick Burns Bequest 173 Blue Terrace, Los Angeles, March 8th 1982, 1982. Composite polaroid, 17½ × 17½ (43.5 × 43.5). Photo Credit Richard Schmidt 174 Chorus, Principals, Narrator, Orchestra and Masks from Oedipus Rex, 1981. Crayon on paper, 22½ × 30 (57 × 76) 175 Set for Sacre with Dancers II from Le Sacre du Printemps, 1981. Gouache on cardboard, 21 × 29½ (53.3 × 74.9) 176 Emperor and Courtiers from Le Rossignol, 1981. Gouache on paper, 22½ × 30 (57 × 76). Collection The David Hockney Foundation 177 Figure with Red Wall. China, 1981. Watercolour on paper, 7 × 8 (18 × 20.5) 178 Slow Driving on the Way to Skowhegan Airport, from Martha’s Vineyard and Other Places: My Third Sketchbook from the Summer of 1982 (pages 39 and 40), 1982. Black and coloured inks on paper, 12 × 18 (30.5 × 45.7) 179 Boy in Baseball Cap Wearing Adidas Sweatshirt and Shoes from Martha’s Vineyard and Other Places: My Third Sketchbook from the Summer of 1982 (pages 115 and 116), 1982. Black and coloured inks on paper, 12 × 18 (30.5 × 45.7) 180 Self-Portrait 25th Oct., 1983. Charcoal on paper, 22 × 18½ (55.9 × 47). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 181 Hollywood Hills House, 1981–82. Oil, charcoal and collage on canvas, 60 × 120 (153 × 304). Collection Walker Art Center, Minneapolis, gift of Mr and Mrs David M. Winton 182 Stephen Spender, Mas St. Jerome I, 1985. Photographic collage, 15¾ × 14¾ (40 × 37.5). Photo Credit: Richard Schmidt 183 Large-scale painted environment with separate elements based on Hockney’s design for Poulenc’s opera Les Mamelles de Tirésias, 1983. Oil on canvas, 134 × 288 × 120 (340 × 732 × 305). Collection Walker Art Center, Minneapolis, gift of the Artist 184 A Visit with Christopher & Don, Santa Monica Canyon, 1984. Oil on 2 canvases, 72 × 240 (183 × 610). Collection Museum Ludwig, Cologne 185 Pembroke Studio Interior, 1984. Lithograph, hand-painted frame. Edition of 70, 40½ × 49½ (102.9 × 125.7). Tyler Graphics Ltd 186 David Graves Reading and Drinking, 1983. Ink, 14 × 17 (35.5 × 43) 187 Self-Portrait, July 1986, 1986. Home-made print on 2 sheets of paper. Edition of 60, 22 × 8½ (55.9 × 21.6). Photo Credit: Richard Schmidt 188 Self-portrait with Stanley, for Retrospective Catalogue, 1988. Xerographic prints. 11 × 17 (28 × 43.2) Photo Credit: Richard Schmidt 189 Ian, 1988. Oil on canvas, 20⅝ × 12¾ (52.3 × 32.4). Photo Credit: Richard Schmidt 190 Even Another, 1989, 1989. Xerox, felt marker, ink, 8½ × 11 (21.6 × 28) 191 112 L.A. Visitors, 1990–91 (detail). Colour laser print portfolio. Edition of 20, each sheet 22½ × 30 (57.2 × 76.2) 192 Untitled, 1991. Computer drawing, 11¼ × 1615/16 (28 × 43). Photo Credit: Richard Schmidt 193 Big Landscape (Medium Size), 1987–88. Acrylic on canvas, 48 × 36 (121.9 × 91.4). Photo credit: Christie’s 194 Thrusting Rocks, 1990. Oil on canvas, 36 × 36 (91 × 91). Photo Credit: Steve Oliver 195 What About the Caves?, 1991. Oil on canvas, 36 × 48 (91.4 × 121.9) 196 Beach House by Night, 1990. Oil on canvas, 24 × 36 (61 × 91.4) 197 Beach House Inside, 1991. Computer drawing, 11¼ × 1615/16 (28 × 43) 198 Livingroom at Malibu with View, 1988. Oil on canvas, 24 × 36 (61 × 91.4) 199 Still Life with Book on Table, 1988. Oil on canvas, diameter 47¾ (124) 200 Van Gogh Chair, 1988. Acrylic on canvas, 48 × 36 (121.9 × 91.4) 201 Small Interior, Los Angeles, July 1988, 1988. Oil on canvas, 36 × 48 (91.4 × 121.9) 202 1” Scale Model, Act I, Final Version from Tristan und Isolde, 1987. Gouache, xerox, balsa, plaster, foamcore, fabric, 50 × 45 × 57 (127 × 114 × 145). Photo Credit: Steve Oliver. Collection The David Hockney Foundation 203 1½’ Scale Model, Act I, Final Version from Turandot, 1990. Gouache, foamcore, acrylic, string, balsa wood, wood dowels, scrim material, plasticine, straws, 48 × 96 × 82 (122 × 244 × 209). Collection The David Hockney Foundation 204 1½’ Scale Model, Act IIl, Scene I, Final Version from Die Frau ohne Schatten, 1992. Foamcore, velvet, paper, plaster, cloth, gouache, 85 × 90½ × 48 (216 × 230 × 122). Collection The David Hockney Foundation 205 Painted Environment III, 1993. 16 colour laser printed photographs mounted on archival board. Edition of 25, 36¼ × 44¼ (92 × 112.5) 206 Dog Painting 19, 1995. Oil on canvas, 18¼ × 25¾ (46.4 × 65.4). Photo Credit: Steve Oliver. The Collection David Hockney Foundation 207 Self-Portrait with Charlie, 2005. Oil on canvas, 72 × 36 (182.9 × 91.4). Photo Credit: Richard Schmidt. Collection National Portrait Gallery, London 208 Jonathan Silver, 27 February 1997, from Portrait Wall, 1997. Oil on canvas, 13¾ × 10¾ (34.9 × 27.3). Photo Credit: Richard Schmidt. Collection The David Hockney Trust 209 Mum Sleeping, 1st Jan. 1996, 1996. Oil on canvas, 18 × 24 (45.7 × 61). Collection The David Hockney Foundation 210 Maurice, 1998. Etching. Edition of 35, 44 × 30½ (112 × 77.4) 211 Soft Celia, 1998. Etching. Edition of 35, 44 × 30½ (112 × 77.4). Photo Credit: Richard Schmidt 212 The Road to York through Sledmere, 1997. Oil on canvas, 48 × 60 (121.9 × 152.4). Photo Credit: Richard Schmidt 213 Garrowby Hill, 1998. Oil on canvas, 60 × 76 (152.4 × 193). Photo Credit: Prudence Cuming Associates. Collection Museum of Fine Arts, Boston, Juliana Cheney-Edwards Collection, Seth K. Sweetser Fund and Tompkins Collection – Arthur Gordon Tompkins Fund 214 Study for A Closer Grand Canyon VI, from Pima Point, 1998. Oil pastel on paper, 19¾ × 25½ (50.2 × 64.8) Photo Credit: Steve Oliver 215 Gouache Study for A Closer Grand Canyon, 1998. Gouache, black and white laser copies glued to foamcore, 18½ × 80 (47 × 203.2). Photo Credit: Steve Oliver 216 A Closer Grand Canyon, 1998. Oil on 60 canvases, 16 × 24 (40.6 × 61) each, 81½ × 293 (207 × 744.2) overall. Photo Credit: Richard Schmidt. Collection Louisiana Museum of Modern Art, Humlebaek, Denmark. Acquired with funding from The A. P. Moeller and Chastine McKinney Moeller Foundation 217 JEAN-AUGUSTE-DOMINIQUE INGRES Mrs John Mackie, née Dorothea Sophia Des Champs, 1816. Graphite on paper, 8¼ × 6½ (21 × 16.5). Victoria and Albert Museum, London 218 Stephen Stuart-Smith. London, 30th May 1999, 1999. Pencil and white crayon on grey paper using a camera lucida, 15 × 14 (38.1 × 35.6). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 219 Ron Lillywhite. London, 17 December 1999, from 12 Portraits after Ingres in a Uniform Style, 1999–2000. Pencil, white crayon and gouache on grey paper using a camera lucida, 22⅛ × 15 (56.2 × 38.1). Photo Credit: Richard Schmidt 220 The Great Wall, 2000. Colour laser copies on 18 panels, 96 × 864 (243.8 × 2194.6) overall. Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 221 Lucian Freud and David Dawson, 2002. Watercolour on paper (4 sheets), overall dimensions 48 × 36 (121.9 × 91.4). Photo Credit: Richard Schmidt 222 John & Robbie (Brothers), 2002. Watercolour on paper (4 sheets), 48 × 36 (121.9 × 91.4 cm). Photo Credit: Prudence Cuming Associates 223 Dr. Leon Banks, 2005. Oil on canvas, 48 × 36 (121.9 × 91.4). Photo Credit: Richard Schmidt 224 Cherry Blossom, 2002. Watercolour and crayon on paper (4 sheets), 36 × 48 (91.4 × 121.9). Photo Credit: Prudence Cuming Associates 225 The Valley, Stalheim, 2002. Watercolour on paper (6 sheets), 72 × 36 (182.9 × 91.4). Photo Credit: Prudence Cuming Associates 226 The Maelstrom, Bodø, 2002. Watercolour on paper (6 sheets), 18 × 24 (45.7 × 61) each, 36 × 72 (91.4 × 182.9) overall. Photo Credit: Richard Schmidt 227 Godafoss, Iceland, 2002. Watercolour on 8 sheets of paper, 18 × 24 (45.7 × 61) each, 36 × 96 (91.4 × 243.8) overall. Photo Credit: Richard Schmidt 228 Andalucía, Mosque, Cordova, 2004. Watercolour on 2 sheets of paper, 29½ × 41½ (75 ×105.4) each, 29½ × 83 (75 × 211) overall. Photo Credit: Prudence Cuming Associates 229 Midsummer: East Yorkshire, 2004. 36 watercolours on paper, 15 × 22½ (38.1 × 57.2) each. Photo Credit: Richard Schmidt. The David Hockney Foundation 230 Path through Wheat Field, July, 2005. Oil on canvas, 24 × 36 (61 × 91.4). Photo Credit: Richard Schmidt 231 Woldgate Woods, 26, 27 & 30 July 2006, 2006. Oil on 6 canvases, 36 × 48 (91.4 × 121.9) each, 72 × 144 (182.9 × 365.8) overall. Photo Credit: Richard Schmidt 232 Woldgate Woods, 7 & 8 November 2006, 2006. Oil on 6 canvases, 36 × 48 (91.4 × 121.9) each, 72 × 144 (182.9 × 365.8) overall. Photo Credit: Richard Schmidt 233 Three Trees near Thixendale, Spring, 2008, 2008. Oil on 8 canvases, 36 × 48 (91.4 × 121.9) each, 72 × 192 (182.9 × 487.7) overall. Photo Credit: Richard Schmidt 234 Three Trees near Thixendale, Summer, 2007, 2007. Oil on 8 canvases, 36 × 48 (91.4 × 121.9) each, 72 × 192 (182.9 × 487.7) overall. Photo Credit: Richard Schmidt 235 Three Trees near Thixendale, Autumn, 2008, 2008. Oil on 8 canvases, 36 × 48 (91.4 × 121.9) each, 72 × 192 (182.9 × 487.7) overall. Photo Credit: Jonathan Wilkinson 236 Three Trees near Thixendale, Winter, 2007, 2007. Oil on 8 canvases, 36 × 48 (91.4 × 121.9) each, 72 × 192 (182.9 × 487.7) overall. Photo Credit: Richard Schmidt 237 May Blossom on the Roman Road, 2009. Oil on 8 canvases, 36 × 48 (91.4 × 121.9) each, 72 × 192 (182.9 × 487.7) overall. Photo Credit: Richard Schmidt 238 Winter Timber, 2009. Oil on 15 canvases, 36 × 48 (91.4 × 121.9) each, 108 × 240 (274.3 × 609.6) overall. Photo Credit: Jonathan Wilkinson 239 Cut Trees – Timber, 2008. Charcoal on paper, 26 × 40¼ (66 × 102.2). Photo Credit: Richard Schmidt 240 A Closer Winter Tunnel, February–March, 2006. Oil on 6 canvases, 36 × 48 (91.4 × 121.9) each, 72 × 144 (182.9 × 365.8) overall. Photo Credit: Richard Schmidt. Collection Art Gallery of New South Wales, Sydney. Purchased with funds provided by Geoff and Vicki Ainsworth, the Florence and William Crosby Bequest and the Art Gallery of New South Wales Foundation, 2007 241 Bigger Trees near Warter, or/ou Peinture sur le Motif pour le Nouvel Age Post-Photographique, 2007. Oil on 50 canvases, 36 × 48 (91.4 × 121.9) each, 180 × 480 (457.2 × 1219.2) overall. Photo Credit: Prudence Cuming Associates. Collection Tate, London 242 Installation detail of The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty-eleven), from the exhibition ‘David Hockney: A Bigger Picture’, at the Royal Academy of Arts, 21 January–9 April 2012. A 52-part work consisting of 51 iPad drawings printed on paper, each 26½ × 19¾ (67.3 × 50.2) or 56¾ × 42½ (144.2 × 108) each, plus a painting on thirty-two canvases, oil on canvas, each 36 × 48 (91.4 × 121.9 cm), overall dimensions 144 × 384 (365.8 × 975.4). Photo Credit: Marcus J. Leith 243 CLAUDE LORRAIN The Sermon on the Mount, c. 1656. Oil on canvas, 67½ × 102¼ (171.5 × 259.7). The Frick Collection, New York 244 The Sermon on the Mount II (After Claude), 2010. Oil on canvas, 67½ × 102¼ (171.5 × 259.7). Photo Credit: Richard Schmidt 245 The Sermon on the Mount VII (After Claude), 2010. Oil on canvas, 36 × 48 (91.4 × 121.9). Photo Credit: Richard Schmidt 246 A Bigger Message, 2010. Oil on 30 canvases, 36 × 48 (91.4 × 121.9) each, 180 × 288 (457.2 × 731.5) overall. Photo Credit: Richard Schmidt 247 Woldgate, 21–22 May from The Arrival of Spring in 2013 (twenty thirteen), 2013. Charcoal on paper, 22⅝ × 30¼ (57.5 × 76.8). Photo Credit: Richard Schmidt. Collection The David Hockney Foundation 248 Winter Road Near Kilham, 2008. Inkjet-printed computer drawing on paper. Edition of 25, 48¼ × 37 (122.6 × 94). Photo Credit: Richard Schmidt 249 Autumn Leaves, 2008. Inkjet-printed computer drawing on paper. Edition of 25, 35 × 46½ (88.9 × 118.1) 250 Jamie McHale 2, 2008. Inkjet-printed computer drawing on paper. Edition of 12, 44 × 29½ (111.8 × 74.9) 251 Dominic Elliott, 2008. Inkjet-printed computer drawing on paper. Edition of 12, 44 × 29½ (111.8 × 74.9) 252 Rain on the Studio Window from My Yorkshire Deluxe Edition, 2009. Inkjet-printed computer drawing on paper. Edition of 75, 22 × 17 (55.9 × 43.2). Photo Credit: Richard Schmidt 253 Untitled, 474, 2009. iPhone drawing 254 Untitled, 522, 2009. iPhone drawing 255 Plug in for the Next Generation (684), iPad drawing 256 Self-Portrait, 25 March 2012, No. 1 (1231), iPad drawing 257 The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 28 April, 2011. iPad drawing printed on paper. Edition of 25, 55 × 41½ (149 × 105.5). Photo Credit: Richard Schmidt 258 May 12th 2011, Rudston to Kilham Road, 5 pm. 18 digital videos synchronized and presented on 18 55” NEC screens to comprise a single art work, 27 × 47⅛ (68.6 × 120) each, 81 × 287 (206 × 729) overall. Duration: 2:00 259 The Four Seasons, Woldgate Woods (Spring 2011, Summer 2010, Autumn 2010, Winter 2010), 2010–11. Still from a 36-screen digital movie 260 Sept. 4th 2011, The Atelier, 11:32 am: A Bigger Space for Dancing. Digital video still 261 The Jugglers, 2012. 18 digital videos synchronized and presented on 18 monitors to comprise a single artwork. Edition of 10 with 2 A.P.s. Duration: 22:18 262 J-P Gonçalves de Lima, 11th, 12th, 13th July 2013, 2013. Acrylic on canvas, 48 × 36 (121.9 × 91.4). Photo Credit: Richard Schmidt 263 Barry Humphries, 26th, 27th, 28th March 2015, 2015. Acrylic on canvas, 48 × 36 (121.9 × 91.4). Photo Credit: Richard Schmidt 264 Matthias Weischer, 9th, 10th, 11th December 2015, 2015. Acrylic on canvas, 48 × 36 (121.9 × 91.4). Photo Credit: Richard Schmidt 265 Margaret Hockney, 14th, 15th, 16th August 2015, 2015. Acrylic on canvas, 48 × 36 (121.9 × 91.4). Photo Credit: Richard Schmidt 266 Marco Livingstone and Stephen Stuart-Smith, 2002. Watercolour on 4 sheets of paper, 24 × 18 (61 × 45.7) each, 48 × 36 (121.9 × 91.4) overall. Photo Credit: Richard Schmidt 267 An Erotic Etching in Peter Webb, The Erotic Arts (London: Secker & Warburg, 1975), 1975. Etching. Edition of 100, 8¼ × 5¾ (21 × 14.6) 268 Marco Livingstone, 1980. Ink, 9 × 12 (22.9 × 30.5) 269 Brooke Hopper, 1976. Lithograph. Edition of 92, 37⅞ × 28 (96 × 71) 270 Joe with David Harte, 1979. Lithograph. Edition of 39, 47¼ × 31⅝ (120 × 80.3). Tyler Graphics Ltd 271 Beach House with Waves 1, 1988. Oil on canvas, 24 × 36 (61 × 91.4) 272 Cyclamen, Mayflower Hotel, New York, 2002. Watercolour and crayon on paper, 20 × 14 (50.8 × 35.6). Photo Credit: Richard Schmidt 273 Tree Tunnel, August, 2005. Oil on canvas, 24 × 36 (61 × 91.4). Photo Credit: Richard Schmidt 274 Hockney working in the Yorkshire Wolds, 10 September 2009. Photograph by Marco Livingstone 275 Celia Birtwell, Andy Palmer and Hockney looking at the three trees near Thixendale, North Yorkshire (historically, part of the East Riding), on 9 June 2008. Photograph by Marco Livingstone