David Hockney caught sight of this window one day at the Louvre Museum. He explored the motif in an oil painting as well as in this copperplate engraving. Here he has used just 10 or so colors and has skillfully captured light and shade by varying the density of his lines. Doesn’t the wooden floor look so glossy?
Depicted is a window overlooking a French-style garden in this preeminent French art institution. The window acts as a metaphor for painting itself, in that both invite us to peek through a rectangular frame into a different world. It is easy to imagine the painter delighting at the sight and thinking to himself, "oh it’s marvelous, marvelous! This is a picture in itself... it’s a wonderful subject, and it’s very French." He has incorporated another French element in the work, too. The green and ocher dots on the gallery walls are inspired by the techniques of Impressionism, which also came from France.
(SAKAMOTO Kyoko)
David Hockney caught sight of this window one day at the Louvre Museum. He explored the motif in an oil painting as well as in this copperplate engraving. Here he has used just 10 or so colors and has skillfully captured light and shade by varying the density of his lines. Doesn’t the wooden floor look so glossy?
Depicted is a window overlooking a French-style garden in this preeminent French art institution. The window acts as a metaphor for painting itself, in that both invite us to peek through a rectangular frame into a different world. It is easy to imagine the painter delighting at the sight and thinking to himself, "oh it’s marvelous, marvelous! This is a picture in itself... it’s a wonderful subject, and it’s very French." He has incorporated another French element in the work, too. The green and ocher dots on the gallery walls are inspired by the techniques of Impressionism, which also came from France.
(SAKAMOTO Kyoko)