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Instantly recognisable, David Hockney’s swimming pools are widely identified as the artist’s most famous motif and embody his fascination with post-war America. In 1978, Hockney established a permanent residence in ‘the promised land’ of Los Angeles. Although printed in New York, Hockney’s large-scale lithograph Afternoon Swimming (1979) is a vivid celebration of life, saturated with the colours, exuberance, and freedom that Hockney associated with California. Incorporating an iconic splash – a reference to his earlier and widely celebrated Los Angeles pool paintings, such as A Bigger Splash (1967) - Afternoon Swimming also reveals the aesthetic influence that the work of Henri Matisse had on Hockney.
'I will make myself my own pool' —Henri Matisse
Henri Matisse, The Swimming Pool, Nice-Cimiez, Hotel Regina, late summer, 1952, Museum of Modern Art, New York. Image: © The Museum of Modern Art, New York/Scala, Florence, Artwork: © Succession Henri Matisse/DACS 2022 In 1952, aged 82, Matisse was staying at the Hôtel Régina in Nice when he expressed a desire to visit his favourite swimming pool in Cannes. Unable to complete the journey in the sweltering heat, the artist exclaimed to his assistant, ‘I will make myself my own pool’. The result was The Swimming Pool, Matisse’s only site-specific cut-out. By painting paper shapes an ultramarine blue and placing them on a band of white paper that stretched around his hotel room, Matisse captured the fluidity of water through which his swimmers dip, dive and dance. La Vague of the same year further emphasises Matisse’s interest in the movement of water – this time, focusing on the undulations of waves. Acquired by the Museum of Modern Art in 1975, Matisse’s The Swimming Pool embarked on a landmark tour around the United States before returning to New York where it was permanently reconstructed in 1977.
Henri Matisse, La Vague, Nice, c. 1952, Musée Matisse, Nice. Artwork: © Succession Henri Matisse/DACS 2022 By 1979, the year that Hockney produced Afternoon Swimming, swimming pools were already an established part of his iconography. Flying into Los Angeles for the first time in 1963, Hockney looked out of the aeroplane window and was immediately captivated by the striking blues of the countless swimming pools scattered throughout the city below. Swimming pools became a motif through which he visually defined Los Angeles, and they illustrate his perception of the city as a liberal, prosperous, and sun-drenched utopia. While realistically depicted figures inhabited Hockney’s earlier pool paintings, other lithographs he produced of swimming pools in the 1970s were largely deserted and focused more on depicting the ever-changing characteristics of water. In contrast, Afternoon Swimming contains three flattened pale-pink figures, with one reaching for a bright orange pool inflatable. The limbs of Hockney’s semi-abstracted swimmers swirl through the composition and appear to undulate in rhythm with the pool water, which ripples from the impact of someone diving in. Far from indicating fully formed figures, Hockney’s swimmers are created through graphic marks which merely allude to human bodies. Similarly, the splash of water and even the trees in the background are constructed entirely of individual staccato marks. The distinctiveness of each lithographic gesture draws parallels with Matisse’s cut outs, in which an overall image emerges through the careful placement of numerous fragments of paper.
Henri Matisse, The Swimming Pool, Nice-Cimiez, Hotel Regina, late summer, 1952, Museum of Modern Art, New York. Image: © The Museum of Modern Art, New York/Scala, Florence, Artwork: © Succession Henri Matisse/DACS 2022 'Whenever I left England, colours got stronger in the pictures. California always affected me with colour. Because of the light you see more colour, people wear more colourful clothes, you notice it, it doesn't look garish: there is more colour in life here.' —David Hockney
David Hockney, Afternoon Swimming, 1979 (details of Lot 12). While aesthetic similarities can be identified between the two swimming pools despite the differing media used, for both artists, these works recall the places that were fundamental to their artistic production. For Hockney, America – and particularly the bohemia of Los Angeles - juxtaposed the repressive atmosphere of post-war Bradford where he grew up. He felt that colours shone brighter in the United States, and he believed this positively impacted his work. For Matisse, his cut-out swimming pool served as a vessel to transport himself out of his blisteringly hot hotel room in 1952, but it also references his long-standing love affair with the French Riviera, which he returned to throughout his life to produce some of his most important works. While other influences on Hockney have been widely explored – such as the impact that the work of Picasso had on the British artist – the relationship between Hockney and Matisse has been less examined. In a bid to rectify this, the Musée Matisse in Nice is currently running an exhibition titled Hockney – Matisse. Un Paradis retrouvé (Hockney – Matisse. A Paradise Found). All the Hockney works on display are on loan from the artist’s personal collection and his foundation based in Los Angeles.
來源
倫敦 Waddington Graphics 畫廊
現藏者於1981年直接購自上述來源文學
Tyler Graphics 266
Museum of Contemporary Art Tokyo 233
Waddington Graphics 87藝術家簡介
大衛．霍克尼
David Hockney (b. 1937) is one of the most well-known and celebrated artists of the
20th and 21st centuries. He works across many mediums, including painting, collage,
and more recently digitally, by creating print series on iPads. His works show semi-
abstract representations of domestic life, human relationships, floral, fauna, and the
changing of seasons.
Hockney has exhibited at the Museum of Modern Art in New York, the Royal
Academy of Arts in London, and the Van Gogh Museum in Amsterdam, among many
other institutions. On the secondary market, his work has sold for more than $90
million.
開普敦Stellenberg收藏
12
《下午游泳 (T.G. 266, M.C.A.T. 233, W.G. 87)》
1979年作
石版畫 Arches Cover 模製紙本（全紙本）
紙本：80 x 100.6 公分 (31 1/2 x 39 5/8 英吋)
款識：簽名、日期、25/55
鈴印：紐約州 Tyler Graphics 畫廊
尚有18版藝術家試作版，由紐約州 Tyler Graphics 畫廊於1980年出版，此作已裱。
估價
£250,000 - 400,000 ‡♠
成交價£302,400
Robert Kennan
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T +44 20 7318 4075
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rkennan@phillips.com
Rebecca Tooby-Desmond
拍賣主管暨專家
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David Hockney
倫敦拍賣 2022年9月13日
49
大衛．霍克尼
《絲莉亞眼看 (Gemini G.E.L. 1650, M.C.A.T. 247)》
估價 £6,000 - 8,000 ♠
成交價 £16,380
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