<b>David Hockney</b>
(1982) 

Next works by Hockney are from the series of photo collage works. Hockney would use many pieces of photographs to develop a montage that would show a wholesome picture but appear distorted. 
The style of this montage was termed Photo Joiners by Hockney. He shared that these works are inspired by Cubism. He stated, “Cubism is difficult to grasp, even for me. I’ve looked at some cubist paintings for 25 years without understanding them. People said cubism led to abstraction but that’s another art-history swindle. Suddenly I see cubism differently, more clearly. And my experiments have led me to a couple of theories of my own…”

Gregory Swimming, Los Angeles
1982
Composite polaroid
68.5 x 130 cm
Private collection

Gregory Swimming, Instalation

 David Hockney
(1984 - 1986) 


Moving Focus Series

David Hockney’s Moving Focus series, 1984–1986, comprises of 26 lithographs exploring interiors, portraits, and architectural spaces through shifting viewpoints. Created with printer Kenneth Tyler, the series reflects David Hockney’s interest in multipoint perspective, moving beyond traditional composition to capture the experience of being within a space. Key works such as The Perspective Lesson and Hotel Acatlán: Second Day highlight the series’ importance within Hockney’s printmaking career.
 
In Moving Focus, David Hockney challenges the single-point perspective that has defined Western art since the Renaissance, instead constructing compositions that shift across multiple viewpoints. Influenced by Cubism and his work in opera set design, he presents space as something fluid and experienced over time rather than fixed and static. This approach was further shaped by his encounter with Chinese scroll paintings during a trip in 1981, where images unfold gradually across extended horizontal formats.

An Image of Gregory, 1984-85
Lithograph printed in colours with collage additions on two sheets of TGL handmade paper
82.7 cm × 66.5 cm, 116.7 cm × 90.6 cm
Edition of 75 plus 18 artist's proofs
https://geistmc.com/our-artists/david-hockney/moving-focus/

 David Hockney
(1983) 

In the autumn of 1983 Hockney made a whole series of self portraits in charcoal. Mostly early in the morning.
This is one of the 26th of September.

Self-portrait 26th Sept.
1983
Charcoal on paper
76.2 x 57.2 cm
SFMOMA, San Francisco
https://www.sfmoma.org/artwork/FC.642/
https://www.thedavidhockneyfoundation.org/chronology/1983

 David Hockney
(1971) 
 

Textile designer, Celia Birtwell, has been a dear friend and close confidante to David Hockney since the 1960s. With their northern roots and shared sense of humour, they found they had much in common from their first meeting and together they were at the heart of bohemian London. The artist has always been fascinated by the changing nature of Celia’s face, and she remained one of his favourite models.

Although often dubbed Hockney’s ‘muse’, their relationship is much more than that. They have always admired each other’s work and her sittings for him have been collaborations, as well as an opportunity to enjoy each other’s company. In his portraits of Celia, the artist has always paid close attention to her distinctive and romantic fabric designs and some of Celia’s own work is inspired by the artist.

Celia Carennac, August 1971
1971
Colored pencil on paper
The Morgan Library & Museum, N.Y.
https://www.themorgan.org/exhibitions/online/celia-carennac-august-1971

David Hockney
(1971) 

The Portrait of Sir David Webster is a 1971 portrait by the English artist David Hockney of the arts administrator David Webster. It was commissioned to mark Webster's retirement as the General Administrator of the Royal Opera House in London. The portrait hung for several decades in the opera house. 
In 2020 it was put up by the Royal Opera House for auction at Christie's due to a decline in their income as a result of the COVID-19 pandemic in the United Kingdom. It sold for £12.8 million against a presale estimate of £11–18 million. It is currently in the National Portrait Gallery on long-term loan from a private collection.

https://en.wikipedia.org/wiki/Portrait_of_Sir_David_Webster

Portrait of Sir David Webster 
1971
Acrylic on canvas
152.8 x 184.5cm

Private collection, currently in the National Portrait Gallery on long-term loan.

 David Hockney
(1976)  
 

The Blue Guitar is a suite of twenty etchings with aquatint by David Hockney, drawn in 1976–77 and published in 1977 in London and New York by Petersburg Press. 

The frontispiece to the portfolio mentions Hockney's dual inspirations: 

"The Blue — Guitar — Etchings by — David Hockney — who was inspired — by — Wallace Stevens — who was inspired — by — Pablo Picasso"

In 1976 Henry Geldzahler introduced Hockney to Wallace Stevens' 1937 poem, The Man with the Blue Guitar, which used Picasso's Blue period painting The Old Guitarist (1903–04) as its central theme. Hockney produced a number of drawings in response to the poem, which highlights the problem of the imagination's role in interpreting reality, and produced a set of coloured etchings using the method devised by Aldo Crommelynck for Picasso to make colour prints. Hockney said his illustrations "like the poem, they are about transformations within art as well as the relation between reality and the imagination, so these are pictures within pictures and different styles of representation juxtaposed and reflected and dissolved within the same frame. Wallace Stevens (1879–1955) began writing poetry in his 40s, and, while never a popular poet, is counted one of North America's most influential poets of the 20th century."

https://en.wikipedia.org/wiki/The_Blue_Guitar

The Blue Guitar series
1976-77
Etchings with aquatint
Plate: 42.5 x 34.5 cm Print: 53 x 46 cm
14 public collections worldwide
https://www.moma.org/collection/works/portfolios/69121

 David Hockney
(1963)  

David Hockney's "A Rake's Progress" is a series of 16 etchings created between 1961 and 1963, inspired by William Hogarth's 18th-century series of the same name, and it reflects Hockney's experiences in New York City. The work combines narrative printmaking with autobiography, showcasing his unique style and experimentation with composition.

https://illustratedjournalism.substack.com/p/david-hockney-the-rakes-progress

The Wallet Begins to Empty (plate 6a) from A Rake's Progress

A Rake's Progress (etchings)
Plate: 30 x 40 cm, Print: 50 x 62.5 cm
Printer: C.H. Welch; London
Edition: 50
MoMA
https://www.moma.org/collection/works/illustratedbooks/18175
https://www.susansheehangallery.com/artworks/david-hockney/a-rakes-progress/