Photography Is Dead. Long Live Painting
Photography Is Dead. Long Live Painting
Signed Print
David Hockney
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Digital Print
Edition size: 45
Year: 1995
Size: H 83cm x W 106cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2024 | Los Angeles Modern Auctions - United States | Photography Is Dead. Long Live Painting - Signed Print | |||
| November 2020 | Grisebach - Germany | Photography Is Dead. Long Live Painting - Signed Print | |||
| June 2020 | Van Ham Fine Art Auctions - Germany | Photography Is Dead. Long Live Painting - Signed Print | |||
| August 2019 | Van Ham Fine Art Auctions - Germany | Photography Is Dead. Long Live Painting - Signed Print | |||
| September 2017 | Christie's London - United Kingdom | Photography Is Dead. Long Live Painting - Signed Print |
Meaning & Analysis
Photography Is Dead. Long Live Painting is a 1995 digital inkjet print by David Hockney. This edition of 45 measures 83 x 105.5 cm and is printed on Somerset paper. The artwork juxtaposes a photograph of sunflowers with its painted counterpart, exploring the relationship between photography and painting. It exemplifies Hockney's mid-1990s experimentation with digital technology in art-making.
Hockney's Photography Is Dead. Long Live Painting presents a visual dialogue between photography and painting. The archival inkjet print showcases precise detail in both representations of sunflowers, referencing Vincent van Gogh's well-known subject matter and adding art historical context.
The piece reflects Hockney's technological experimentation in the 1990s. He began using the Quantel Paintbox, a computer program for painting and manipulating images, in 1986. This digital exploration culminated in works like this 1995 print, combining traditional and digital techniques.
By presenting photographic and painted versions of the same subject, Hockney invites viewers to consider each medium's unique qualities. The photographic image captures a moment, while the painted version allows for interpretation of colour and form. This print serves as both a visual exploration and an examination of artistic representation in the modern age.