Name: Man Reading Stendahl
Brand: David Hockney
Rating: 5 (252 reviews)

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British-born artist David Hockney is a kaleidoscopic force in the art world. Born in 1937, Hockney's vibrant palette and innovative techniques have left an indelible mark on contemporary art. A pioneer of the British Pop Art movement in the 1960s, he seamlessly transitioned through various styles, from photo collages to vivid landscapes. Renowned for his exploration of light and space, Hockney's versatility extends to painting, printmaking, photography, and stage design. A captivating storyteller, his works often capture the essence of modern life with a playful yet profound touch. With a career spanning decades, Hockney remains an enduring visionary in the ever-evolving art world.

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Reduced to a handful of lines and fragmented, the figure in Hockney’s Man Reading Stendhal recalls Picasso's Cubist portraits. His eyes lowered to read an unmarked book, he sits in an armchair on a fuzzy blue rug. Behind him, as if plastered to the wall, are pages of text. His face is mottled, as are other coloured parts of the work, recalling the texture of old fashioned composition notebooks. One of the more playful works in the Home Made Prints series, Man Reading Stendahl is a joyful experiment with style and technique that marks a significant departure from the etchings and lithographs of his earlier work. With the purchase of an office photocopier in 1986 Hockney was able to find a new freedom in printmaking; where before he was reliant on assistants and workshops, with the machine he could add layers, play with texture and scale, and produce digital print editions all by himself. Speaking of his newfound technique the artist said, “I can work with great speed and responsiveness. In fact this is the closest I’ve ever come in printing to what it’s like to paint: I can put something down, evaluate it, alter it, revise it, reexamine it, all in a matter of seconds”.

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Reduced to a handful of lines and fragmented, the figure in Hockney’s 

 recalls Picasso's Cubist portraits. His eyes lowered to read an unmarked book, he sits in an armchair on a fuzzy blue rug. Behind him, as if plastered to the wall, are pages of text. His face is mottled, as are other coloured parts of the work, recalling the texture of old fashioned composition notebooks. One of the more playful works in the 

 is a joyful experiment with style and technique that marks a significant departure from the etchings and lithographs of his earlier work. With the purchase of an office photocopier in 1986 Hockney was able to find a new freedom in printmaking; where before he was reliant on assistants and workshops, with the machine he could add layers, play with texture and scale, and produce digital print editions all by himself. Speaking of his newfound technique the artist said, “I can work with great speed and responsiveness. In fact this is the closest I’ve ever come in printing to what it’s like to paint: I can put something down, evaluate it, alter it, revise it, reexamine it, all in a matter of seconds”.

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Man Reading Stendahl

Man Reading Stendahl
Signed Print

David Hockney

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Man Reading Stendahl

Man Reading StendahlSigned Print

David Hockney

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Man Reading Stendahl
Signed Print