"Mr and Mrs Clark and Percy Mr and Mrs Clark and Percy is a painting by the British artist David Hockney. Painted between 1970 and 1971, it depicts the fashion designer Ossie Clark and the textile designer Celia Birtwell in their flat, shortly after their wedding, with one of the couple's cats on Clark's knee. The white cat depicted in the painting was Blanche; Percy was another of their cats, but Hockney thought ""Percy"" made a better title. The work is part of a series of double portraits made by Hockney from 1968, often portraying his friends. Hockney and Clark"
"French edition of ""Vogue"". Consistent with his interest in cubism and admiration for Pablo Picasso, Hockney chose to paint Celia Birtwell (who appears in several of his works) from different views for the cover, as if the eye had scanned her face diagonally. ""David Hockney: A Rake's Progress"" (2012) is a biography of Hockney covering the years 1937–1975, by writer/photographer Christopher Simon Sykes. In 2012, Hockney featured in BBC Radio 4‘s list of ""The New Elizabethans"" to mark the diamond Jubilee of Queen Elizabeth II. A panel of seven academics, journalists and historians named Hockney among the group of people"
"David Hockney David Hockney, (born 9 July 1937) is an English painter, draftsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century. Hockney has owned a home and studio in Bridlington and London, and two residences in California, where he has lived on and off since 1964: one in the Hollywood Hills, one in Malibu, and an office and archives on Santa Monica Boulevard in West Hollywood, California. Hockney's 1972 work ""Portrait of an Artist (Pool with Two"
"Ascanius Shooting the Stag of Sylvia Landscape with Ascanius Shooting the Stag of Sylvia is a painting of 1682 in oil on canvas by Claude Lorrain (Claude Gellée, traditionally just ""Claude"" in English), a painter from the Duchy of Lorraine who spent his career in Rome. It was painted in Rome for Prince Lorenzo Onofrio Colonna (1637–1689), Claude's most important patron in his last years, and is now in the Ashmolean Museum, Oxford. It is signed, dated with the year, and inscribed with the subject (at centre bottom), as Claude sometimes did with his less common subjects. It was Claude's"
"from still-lifes to landscapes, portraits of friends, his dogs, and stage designs for the Royal Court Theatre, Glyndebourne, and the Metropolitan Opera in New York City. Hockney has always returned to painting portraits throughout his career. From 1968, and for the next few years, he painted portraits and double portraits of friends, lovers, and relatives just under lifesize in a realistic style that adroitly captured the likenesses of his subjects. Hockney has repeatedly been drawn to the same subjects – his family, employees, artists Mo McDermott and Maurice Payne, various writers he has known, fashion designers Celia Birtwell and Ossie"
"The Milkmaid of Bordeaux The Milkmaid of Bordeaux (Spanish: La lechera de Burdeos) is an oil-on-canvas painting completed between 1825 and 1827, generally attributed to the Spanish artist Francisco Goya (1746–1828). Although the picture is held in great esteem and widely admired by critics and the public, doubt has been cast by art historians as to whether it is an actual Goya. If authentic then it is likely a portrait of either Rosario Weiss, or more likely, her mother Leocadia Weiss—the artist's nurse during the last years of his life. Leocadia cared for Goya in exile in Bordeaux, where he"
"The Story of Lucretia (Botticelli) The Tragedy of Lucretia is a tempera and oil painting on a wood ""cassone"" or ""spalliera"" panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime. The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is"
"of love and of the home and the presentiment of coming death."" According to Robert Havard, her confident stare and maja dress may be indications of the earlier charge against her of adultery. The picture probably depicts Leocadia Weiss (""née"" Zorrilla, b. 1790) the artist's maid, younger by 35 years, and distant relative, though this identity has been contested. As with any of the paintings from the series, the current title was not Goya's own, and he never mentioned or wrote about any of the ""Black Paintings"". Leocadia was probably similar in features to Goya's first wife Josefa Bayeu, to"
"Castelli's son. Portrait of an Artist (Pool with Two Figures) Portrait of an Artist (Pool with Two Figures) is a large acrylic-on-canvas pop art painting by British artist David Hockney, completed in May 1972. It measures , and depicts two figures: one swimming underwater and one clothed male figure looking down at the swimmer. In November 2018, it sold for US$90.3 million, the highest price ever paid at auction for a work by a living artist. Hockney visited California for the first time in January 1964 after a successful first solo exhibition at the John Kasmin gallery. The United States"
"La Leocadia La Leocadia (Spanish: Doña Leocadia) or The Seductress (Spanish: Una Manola) are names given to a mural by the Spanish artist Francisco Goya, completed sometime between 1819–1823, as one of his series of 14 ""Black Paintings"". It shows a woman commonly identified as Goya's maid, companion and, most likely lover, Leocadia Weiss. She is dressed in a dark, almost funeral maja dress, and leans against what is either a mantelpiece or burial mound, as she looks outward at the viewer with a sorrowful expression. ""Leocadia"" is one of the final of the ""Black Paintings"", which he painted in"
"as the Hockney–Falco thesis, named after Hockney and Charles M. Falco, another proponent of the theory. Professor Philip Steadman published the book ""Vermeer's Camera: Uncovering the Truth behind the Masterpieces"" in 2001 which specifically claimed that Vermeer had used a camera obscura to create his paintings. Steadman noted that many of Vermeer's paintings had been painted in the same room, and he found six of his paintings that are precisely the right size if they had been painted from inside a camera obscura in the room's back wall. Supporters of these theories have pointed to evidence in some of Vermeer's"
"ensign before, because in the HEIC, purchasing of commissions was not practised). William Thomas Davinier married a widow, Fanny Graham, and had a daughter, Emily. Emily died unmarried in 1870, several years after the death of her parents. Belle's last known descendant, her great-great-grandson Harold Davinier, died childless in South Africa in 1975. The family commissioned a painting of Dido and Elizabeth. Completed in 1779, it was formerly attributed to Johann Zoffany though it has now been verified by the Scottish National Gallery (as shown on ""Fake or Fortune"") as a painting in the Zoffany style by Scottish portraitist David"
"Hockney–Falco thesis The Hockney–Falco thesis is a theory of art history, advanced by artist David Hockney and physicist Charles M. Falco. Both claimed that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical instruments such as the camera obscura, camera lucida, and curved mirrors, rather than solely due to the development of artistic technique and skill. Nineteenth-century artists' use of photography had been well documented. In a 2001 book, ""Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters"", Hockney analyzed the work of the Old Masters and argued"
"""Chinchilla, Summit Conference, Don Juan ""and"" Webster, James Hadley Chase's No Orchids for Miss Blandish, Noël Coward's Semi-Monde ""and"" Sirocco, William Shakespeare's Macbeth, Hamlet ""and"" The Merchant of Venice, Philip Massinger's The Roman Actor, Shaun Lawton's Desperado Corner, Vernon Sylvaine's Madame Louise, John Ford ""and"" John Webster's Painter's Palace of Pleasure, Hofmannsthal's Rosenkavalier, Genet's The Balcony, The Screens ""and"" The Blacks, Bertolt Brecht's The Caucasian Chalk Circle ""and"" The Mother, Sean O'Casey's Red Roses For Me, The Marquis de Sade's Philosophy in the Boudoir, Chekhov's The Seagull, Brecht/Weill's The Threepenny Opera, John Fletcher ""and"" Philip Massinger's The Custom of The"
"The Story of Virginia (Botticelli) The Story of Virginia (Italian, Storie di Virginia), is a painting by the Italian Renaissance painter Sandro Botticelli. It is a tempera on panel and measures 86 cm tall and 165 cm wide. It is currently held by the Accademia Carrara in Bergamo, Italy. It is one of the last works that Botticelli made exemplifying virtue, like The Story of Lucretia. The painting has as a fundamental theme of violated honor and matrimonial fidelity. The combination of several scenes in a single image was common in the art of the early Renaissance. These are read"
"by Gainsborough (""see above"") and is dated to about 1782 or 1784. The third portrait is by Benjamin West and was painted shortly before Octavius's death. Furthermore, among these five portraits, there are two enamels, both after Gainsborough's 1782 portrait; one is by William Bone and the other one is by an anonymous master. The sixth and last portrait represents the apotheosis of Octavius and Alfred (""see above"") and was painted by West. Another portrait, this time of Queen Charlotte, features Octavius. Painted in 1779 by West, this is both a portrait of the Queen and her children, who are"
"both paintings wear pearl earrings, have scarves draped over their shoulders, and are shown in front of a plain black background. In addition, it is likely that the creation of both works involved the use of some optical device, such as a camera obscura or mirror, as the Hockney–Falco thesis speculates. The sitter is depicted as having a homely face—widely spaced and flat—with a small nose and thin lips. The lack of idealised beauty has led to a general belief that this work was painted on commission, although it is possible that the model was Vermeer's daughter. The artist probably"
"had a specific slandered individual in mind, perhaps himself, or Savonarola. In 1502, some years after the probable date of the painting, an anonymous denunciation to the authorities accused Botticelli of sodomy. The figures are either personifications of vices or virtues, or in the case of the king and victim, of the roles of the powerful and the powerless. From left to right, they represent (with alternative names): Truth, nude and pointing upwards to Heaven; Repentance in black; Perfidy (Conspiracy) in red and yellow, over the innocent half-naked victim on the floor, who is being pulled forward by the hair"
"dress him with a white ribbon, representing chastity. ""Temptation of St. Thomas"" is among Velázquez's better-known paintings. Temptation of St. Thomas (Velázquez) The Temptation of St. Thomas is a painting by the Spanish Baroque painter Diego Velázquez, executed in 1632 and housed in the Museum of Sacred Art of Orihuela Cathedral, southern Spain. The work, for a period, was attributed to Murcian painter Nicolás de Villacis, until it was recognized as Velázquez's in the 1920s. It portrays the episode of the life of Saint Thomas Aquinas when, as a novice, he resisted the temptation represented by a prostitute, who is"
"floor to the right of Clark, and a plain table to the left of Birtwell bearing a vase of lilies and a yellow book. There is a framed print on the wall behind her. Hockney worked and reworked the portraits many times until he was satisfied, repainting Clark's head perhaps twelve times. He has described the style of the painting as being close to naturalism, although the surfaces are characteristically abstracted and flattened. Hockney achieves the difficult task of balancing the dark figures ""contre-jour"", against the light flooding in through the window behind them. The work is in acrylic on"
"We have an appointment with you in Hell!"" In the play, they also connect themselves to a painting by Francisco Goya called ""Volaverunt"", in which three mysterious figures are flying through the air and supporting a more discernible royal female figure. Drawings contained in ""Holinshed's Chronicles"", one of the sources Shakespeare used when creating the characters, portray them as members of the upper class. They are wearing elaborate dresses and hairstyles and appear to be noblewomen as Macbeth and Banquo approach. Shakespeare seems to have diverted quite a bit from this image, making the witches (as Banquo says) ""withered, and"
"be placed in the context of Goya's personal situation: he was an old man of more than 70 years living with his much younger lover. Perhaps significantly, the painting was originally situated across from one believed to depict Leocadia beside Goya's tomb. Along with the other works in the series, the painting was transferred to canvas in 1873–74 for Baron Emile d'Erlanger under the supervision of Salvador Martínez Cubells, a curator at the Museo del Prado. D'Erlanger donated all 14 canvases to the Prado in 1881. Judith and Holofernes (Goya) Judith and Holofernes is the name given to one of"
"Asmodea Asmodea or Fantastic Vision (Spanish: Visión fantástica) are names given to a fresco painting likely completed between 1820–1823 by the Spanish artist Francisco Goya. It shows two flying figures hovering over a landscape dominated by a large tabled mountain. ""Asmodea"" is one of Goya's 14 ""Black Paintings""—his last major series—which, in mental and physical despair, he painted at the end of his life directly onto the walls of his house, the Quinta del Sordo, outside Madrid. No written or oral record survives as to the series' intended meaning, and it is probable that they were never intended to be"
"sixteen Spanish horses from the royal stables, portraits of the king and queen by Goya, and the portrait that was to be commissioned from David. The French ambassador to Spain, Charles-Jean-Marie Alquier, requested the original painting from David on Charles' behalf. The portrait was to hang in the Royal Palace of Madrid as a token of the new relationship between the two countries. David, who had been an ardent supporter of the Revolution but had transferred his fervour to the new Consulate, was eager to undertake the commission. On learning of the request, Bonaparte instructed David to produce three further"
"The Duchess of Alba and la Beata The Duchess of Alba and ""la Beata"" (or The Duchess of Alba and the Pious Woman; Spanish: La duquesa de Alba y su dueña o La Duquesa de Alba y ""la Beata"") is a small 1795 oil on canvas painting by the Spanish artist Francisco Goya. It portrays the Duchess María Cayetana de Silva, 13th Duchess of Alba reaching playfully towards her maid (or ""duena"") Rafaela Luisa Velazquez (known as ""la Beata""), who leans away. María holds a red cord under the chin of the older woman, which seems to scare her as"
"artists including David from the Louvre, the picture could be found in the ancient church of Cluny, which he used as a workshop. The Intervention of the Sabine Women The Intervention of the Sabine Women is a 1799 painting by the French painter Jacques-Louis David, showing a legendary episode following the abduction of the Sabine women by the founding generation of Rome. David began planning the work while he was imprisoned in the Luxembourg Palace in 1795. France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian"
"to imprint themselves durably"". In 2001, artist David Hockney's book """" was met with controversy. His argument, known as the Hockney-Falco thesis, is that the notable transition in style for greater precision and visual realism that occurred around the decade of the 1420s is attributable to the artists’ discovery of the capability of optical projection devices, specifically an arrangement using a concave mirror to project real images. Their evidence is based largely on the characteristics of the paintings by great artists of later centuries, such as Ingres, Van Eyck, and Caravaggio. The ""camera lucida"" is still available today through art-supply"
"The Black Duchess The Black Duchess (also Mourning Portrait of the Duchess of Alba or simply Portrait of the Duchess of Alba) is a 1797 oil-on-canvas painting by Spanish painter Francisco Goya. The Duchess in the painting is María Cayetana de Silva, 13th Duchess of Alba, then 35 years old. It is a companion piece to the more chaste ""The White Duchess"", completed two years earlier. In this work, de Silva is dressed in low cut ""Maja"" clothing. She probably agreed to this depiction in that it might show her as a ""woman of the people"". , the painting has"
"create a painting for her, which he did. This painting is the ""Portrait of the Duchess of Alba"", painted at her request. The Black Duchess The Black Duchess (also Mourning Portrait of the Duchess of Alba or simply Portrait of the Duchess of Alba) is a 1797 oil-on-canvas painting by Spanish painter Francisco Goya. The Duchess in the painting is María Cayetana de Silva, 13th Duchess of Alba, then 35 years old. It is a companion piece to the more chaste ""The White Duchess"", completed two years earlier. In this work, de Silva is dressed in low cut ""Maja"" clothing."
"pair at their residence in California. Hockney uses the subjects, the objects, and his own style to recreate a mundane scene that invites both strangers and friends of the couple to ponder their dualistic home that stands as both a residence and gallery. David Hockney is a famous British artist that at the time had also made a name for himself in America. In 1964 he visited Los Angeles and then left quickly only to come back in 1966 to teach at the University of California Los Angeles. Two years later Hockney began his double portraits. Initial thoughts on the"
"Portrait of an Artist (Pool with Two Figures) Portrait of an Artist (Pool with Two Figures) is a large acrylic-on-canvas pop art painting by British artist David Hockney, completed in May 1972. It measures , and depicts two figures: one swimming underwater and one clothed male figure looking down at the swimmer. In November 2018, it sold for US$90.3 million, the highest price ever paid at auction for a work by a living artist. Hockney visited California for the first time in January 1964 after a successful first solo exhibition at the John Kasmin gallery. The United States fascinated him,"
"from left to right: This story is developed within a setting of classical architecture, in which the figures are agitated, painted with vibrant colors. The Story of Virginia (Botticelli) The Story of Virginia (Italian, Storie di Virginia), is a painting by the Italian Renaissance painter Sandro Botticelli. It is a tempera on panel and measures 86 cm tall and 165 cm wide. It is currently held by the Accademia Carrara in Bergamo, Italy. It is one of the last works that Botticelli made exemplifying virtue, like The Story of Lucretia. The painting has as a fundamental theme of violated honor"
"de San Fernando, it is generally considered highly unlikely. The Milkmaid of Bordeaux The Milkmaid of Bordeaux (Spanish: La lechera de Burdeos) is an oil-on-canvas painting completed between 1825 and 1827, generally attributed to the Spanish artist Francisco Goya (1746–1828). Although the picture is held in great esteem and widely admired by critics and the public, doubt has been cast by art historians as to whether it is an actual Goya. If authentic then it is likely a portrait of either Rosario Weiss, or more likely, her mother Leocadia Weiss—the artist's nurse during the last years of his life. Leocadia"