![]() This exhibition reveals Hockney as a showman. Hockney with ‘The Arrival of Spring in Woldgate, 2011’ It represents the acme of Hockney’s intent to share his rediscovery of the English landscape, and to assert the importance of careful observation of the small but significant changes that unfold daily in the natural world around us. On the woodland floor, spring flowers and green ferns form a William Morris tapestry. This is an astonishing painting, with vibrant colours and disembodied, Rousseauesque leaves and tendrils that seem to float among the vivid orange and purple vertical slashes of the tree trunks. Viewers take in ‘The Arrival of Spring in Woldgate, East Yorkshire in 2011’ This is a theatrical experience, a stage set with the viewer at the centre of the drama. ![]() Dominating all, on the end wall, is a massive 32-canvas painting that represents the theme’s vibrant crescendo – The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty-eleven). The prints originate from drawings made on an iPad, an instrument that didn’t exist when he accepted the Royal Academy’s invitation in 2007 to mount an exhibition. Stand at the centre of this overwhelming display and you are surrounded by 51 large prints, a series entitled The Arrival of Spring in Woldgate, East Yorkshire in 2011 that records the transition from winter through to late spring on one small road. This huge room brings to mind Hockney’s long involvement with theatrical spectacle, designing sets for the opera. We had bought our tickets weeks ago: a good move, since David Hockney’s show, A Bigger Picture, at the Royal Academy is now sold out for its entire run.Īnd show it is: this realisation hit me when I entered the gallery devoted to the arrival of spring.
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