The Hockney exhibition at the Tate is one of the most popular exhibitions I can recall there, with a long queue snaking round the central hall. We wait for our time slot for a while wondering around the permanent collection; a few things that leap out are Sunil Gupta’s photographs of gay couples, Wolfgang Tillman’s photographic series around Heathrow, a Bridget Rile line painting, Chair by Allen Jones and a sculpture of Saint Sebastian by Eric Gill.
When we do get in, it’s interesting how although Hockney’s style changes over time, the focus on perspective remains consistent; early works showing a flattened box of tea or a flat figure pressed against an illusionary window foretell the compound eye approach to photography and painting later adopted. Some of the early works fit into a whimsical approach to trompe l’oeil; an abstract painting of geometrical objects that is actually a realistic depiction of a red rubber ring floating in a swimming pool or a Hogarth parody where a woman holding a candle out of a window can have it lit by a figure standing on the hill behind her. The early work that most predicts his later work shows his boyfriend sleeping while Hockney is shown behind him sketching; only for this to become clear as an unfinished self portrait hung behind the figure.
This theme continues in the Californian paintings; the various pools occupied by naked men tend to be shown as flat blue planes whose surfaces are covered in snaking lines t reflect the play of light. The buildings are always modernist structures characterised by rigid lines; even lawn sprinklers spout water in precisely triangular shapes. The turn towards naturalistic painting maintains this focus; in each portrait the two figures are essentially shown at right angles to one another; often a figure stares out towards the viewer while the other figure looks at the first. Mr and Mrs Clark are unusual in both looking out at the viewer and it is appropriately left to Percy the cat to turn his back on the viewer and stare out of the window instead.
The compound eye approach I spoke of becomes evident in the photographs; the photo of Gregory Swimming replaces the intersecting lines of the pool paintings where the water, the building and a diving board converge with a series of fragmented moments in both time and space, concurrently showing Gregory at multiple points. The same follows as Hockney’s interest in landscape emerges with photos of the Grand Canyon, Ryoanji and Yorkshire. The landscape paintings differ from the photographs in deliberately warping space; a painting of the Wolds piles each field up in a series of vertiginous planes. The result looks more like one of Escher’s Italian drawings than traditional English pastoral. Something similar goes for the Grand Canyon paintings’ it’s noticable that a forced restriction of Hockney’s palette (to Red in this case or Green for England) is helpful in counteracting the surfeit of primary colour in some of his Californian paintings. His further series of Yorkshire paintings and videos (some of which I’d seen before at the Royal Academy) are always split between multiple canvasses, even where one large canvas would be perfectly possible. In the video series, each screen represents a different camera showing slightly different angles.
A few weeks later and I visit the Ashmolean’s Degas to Picasso exhibition. A lot of this consists of drawings; Gericault’s equestrian drawings, Daumier’s satirical drawings of the French assembly, a Manet drawing of his mistress, studies for his paintings of Berthe Morisot and The Execution of Maximilian, an Ingres study for his Odalisque painting and Millet drawings of shepherds and sailors. Paintings tend to be from more minor artists; a Cubist city view from Gleizes, a Mother and Child from Leger, a Villon Cubist portrait of his father or a Metzinger landscape. More diverting is a smaller exhibition showing Hiroshige views of Mount Fuji; I especially like an unusual urban scene showing a Tokyo street stretching off into a vanishing point with Fuji appearing to rise up at that juncture.
The following week and I go to London to see a performance of The Taming of the Shrew at the Globe. It’s perhaps played a little too much as a comedy for my taste, with frequent interludes of modern music, whereas arguably it’s better to treat it as a problem play. The production tries to soften some of the problematic aspects of the text; for example by interpolating a puppet sequence to draw out some of the abusive implications of Katherina’s last speech; Gloria Onitiri certainly plays it as a tragic role. I have a brief look around the Tate afterwards, looking at some of Agnes Martin’s white paintings, Anish Kapoor sculpture, Bridget Riley op-art, surealist paintings and work by the New Tendencies group.