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For popular British artist Howard Hodgkin (b.1932), India has been a source of inspiration since he first visited the country in 1964. Although Hodgkin's collection of Indian art has been featured in various publications, this will be the first to explore the influence of India on his work. The first of Hodgkin's paintings inspired by India, Indian Subject (Blue), 1965-1969, was also the first of his paintings to be painted on wood, rather than canvas. It began a long exploration of paint surface and support that has become a key characteristic of his practice. The book's illustrative journey begins with early works of the 1960s and includes paintings from throughout Hodgkin's career including his most recent. Featuring unpublished archival material, newly commissioned essays and an interview with the artist, this unique publication sheds light on an important strand of Hodgkin's oeuvre and provides valuable insights into his work in general.
Howard Hodgkin is one of the foremost British painters and his vivid, abstract works have been exhibited internationally. This work gathers together the responses of a selection of leading novelists, critics, poets, travel writers and journalists to his paintings, and provides insights into his work.
A story about the lives wasted by the violence of the First World War.
Exploring more than a dozen personal collections of contemporary artists, this unique and revealing book probes the aesthetic and psychological dimensions of collecting and shows how objects can influence and reflect their owners' work. A lead essay examines the reasons why artists collect, attempting to understand the relationship between the objects artists amass and the works they make, and contributions by or on each of the artists reflect on the personal significance of collecting habits.
One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!
Hodgkin's art can be seen as providing memorials for people, many of whom are friends, whose absence is countered by th e corresponding physical presence of particular paintings. Descriptive elements visible in his earlier portraits from the 1950s are subsumed within paintings that have, over the course of more than fifty years, become more psychologically charged, but no l ess connected with evoking specific individuals in particular situations. This book, like the exhibition it accompanies, surveys the development of Hodgkin's portraiture from its beginnings in 1949 to the present, including new paintings. Comprising key works from a range of international public and private collections, it traces the evolution of the artist's visual language and his engagement with a range of friends and others within the artist's circle. Exhibition curator Paul Moorhouse provides a compe lling introduction to Hodgkin's portraits, his subjects, working methods, the role of memory, and his distinctive approach to representing people. Peter Blake, Stephen Buckley, Patrick Caulfield, David Hockney, Philip King, R . B . Kitaj and Richard Smith are among the many leading artists portrayed, so that the British art world emerges as the wider subject of Hodgkin's art. The book also contains a fully illustrated chronology and commentaries on individual work
Howard Hodgkin is now being acknowledged as one of the great painters of modern times and one of the most inventive and original colorists of the twentieth century. His paintings exist at the margin between representation and abstraction, bright mosaics shot through with hints and glimmerings of recognizable form. They are intelligent objects, constantly in dialogue with the art of the past, but they wear their learning lightly. The cryptic intensity of Hodgkin's art stems from the artist's self-confessed desire to be true to his own feelings, to embody his passions and fears, his aspirations and anxieties, in the often refractory medium of oil paint. His art is both tender and profound. This superbly produced volume is the first monograph to be published on the artist. Andrew Graham-Dixon investigates Hodgkin's rich and complex art through its guiding themes and elucidates the passions and preoccupations that lie behind the paintings. Avoiding the standard chronological course of many monographs, the book focuses on the emotional and intellectual essence of Hodgkin's paintings as the author explores them in great detail. He examines Hodgkin's complex use of scale and color, the nature of his pictorial language, the frequent eroticism of his art, the notions of time and of human experience that it embodies - and finds in the work a perennial tension between exuberance and melancholy. Graham-Dixon argues that Hodgkin is a classic modern painter, but in an old-fashioned sense; an artist who meets Baudelaire's old clarion call for a "painter of modern life".