David Hockney’s Guest House Garden, from the L’art à fleur de peau Collection, will honor the 20th / 21st Century: Evening Sale including Italian Thought, London on October 15, 2021.
The painting is from the L’art à fleur de peau collection, with more than 100 works offered in Paris in a dedicated sale on October 13, 2021. Garden of the guest house is a deeply personal vision from a pivotal moment in that of David Hockney practice. The work was acquired during the artist’s personal exhibition at Lelong Gallery, Paris, in 2001 and has since been unseen in public.
Garden of the guest house belongs to a small group of paintings and drawings depicting the artist’s garden, which he started in the summer of 2000 in London when he was exhibiting at the National Gallery, and continued in Los Angeles, where is the garden represented. Although bathed in Californian luminosity, these works mark the beginning of a significant change in Hockney’s practical, foreshadowing many of the qualities of Yorkshire landscapes that would dominate his work from 2004.
Highlights of the Art on edge collection, including Garden of the guest house, are exposed to Christie’s in Paris until September 12, 2021. that of David Hockney Garden of the guest house will then be presented in Hong Kong from September 21 to 24 and in New York from September 29 to October 3 before being exhibited in London from October 9 to 15, 2021.
“The lavish garden of David Hockney’s guesthouse is bathed in bright light and represents a pivotal moment in the artist’s work where his sense of home, whether in California or Yorkshire, began. to dominate his artistic vision. The work was created at a time when Hockney’s international career had reached new heights with landmark exhibitions in Paris marking a significant change for him on the world stage and yet his life was touched by the tragedy of the death of his mother.
The painting has not been seen since its first exhibition in 2001 and we are delighted to offer Garden of the guest house in our global 20th / 21st Century: Evening Sale featuring Thinking Italian, London during Frieze Week this year. We are sure that the exceptional quality of the painting will resonate with international collectors as we welcome them back to London. “
Catherine arnold, co-responsible for post-war and contemporary art, Christie’s, Europe
At the beginning of the 2000’s, David Hockney began to take a closer look than ever at the various places he had come to live, his eye sharpened by rigorous visual research for his landmark 2001 thesis Secret Knowledge. Here, Hockney’s vivid palette and intricate geometric drama infused her garden with an almost anthropomorphic quality. It’s a vision of warm familiarity, seen through new inquiring eyes. The turn of the millennium was also a time of great professional triumph for Hockney.
In 1999, he mounted three major personal exhibitions in Paris, including his flagship retrospective at the Center Georges Pompidou and a flagship exhibition at the Picasso Museum: the first of a living artist. Sadly, it was also around this time that the artist’s mother died in the family home in Yorkshire. His poor health in previous years had attracted Hockney more and more in his homeland, arousing a nostalgia for the landscapes of his childhood.
His stay in the UK in the summer of 2000 brought the theme of the house back to the forefront of his mind: views of his gardens in London and Los Angeles, some created from memory, mixed with Yorkshire scenes. , each infusing and influencing one another. The winding coastal roads that had dominated its Californian landscapes have become garden paths and country roads; the light and color of the west coast has transplanted to British soil.
This blurring of borders would ultimately lead Hockney back home, apparently identifying the same drama and luminosity in his native landscape that he had previously observed in the canyons, sunsets and scenic views of California. Garden of the guest house capture eloquently Hockney’s arrived at this crossroads.
In the privacy of a domestic garden, the artist finds a veritable theater of colors, shapes and textures. Hockney’s palette is almost fauvist saturation, recalling the spirit of Henri Matisse and Andre Derain that the artist had formerly channeled into his views of Nichol’s Canyon, Mulholland Drive and the sea in Malibu. The high bank of trees of the work and the fresh and clear sky, meanwhile, seem to prefigure Hockney’s depictions of the Yorkshire Wolds, where shades of pale blue glistened through dense, vertical forests.
During the 1990s Hockney’s the emphasis on floral still life had led him to renew his commitment to the work of Vincent Van Gogh, and something by Van Gogh a bright, otherworldly light is palpable here. Trees, in particular, seem to emit an almost human quality reminiscent of by Van Gogh own representations of forests and groves. These combined influences would ultimately lead Hockney in a new home in France, where his garden in rural Normandy became the subject of a new series presented at the Royal Academy of Arts, London, this summer.
Christie’s will present a sale dedicated to the L’art à fleur de peau collection in Paris on October 13. This exceptional grouping reflects a woman’s passion for post-war and contemporary art, representing some of the greatest international figures of the 20th century. Following Garden of the guest house, key pieces of Fernando Botero, Chu Teh-Chun, Friedensreich Hundertwasser, Barbara Kruger, Louise Nevelson, and Manolo Valdes will also be offered. The L’art à fleur de peau collection also reflects a strong appetite for French artists, including Philippe Cognée, Olivier Debré, Gérard Garouste, Gilles Aillaud, Richard Texier and Maurice Estève.
“French collections of this quality are rare. We are therefore particularly honored to be able to present this set at Christie’s this fall. Marked by a passion for the works of the French scene of the second half of the 20th century as well as an openness to international artists, the collector shows loyalty to some of the most important Parisian dealers. The collection therefore portrays the woman who created it. A woman both impulsive and whimsical, driven by an insatiable curiosity for contemporary creation and a strong taste for daring works. A woman with art in mind.
Paul Nyzam, Head of the L’art à fleur de peau collection
Christie’s has always endeavored to showcase collections built by people with demanding taste and keen eyes, and in particular contemporary art, collections assembled by women. This sale follows the sale of Benedict Pesle (2018), Anne Tronche (2019), and Marion lambert (2020) collections. L’art à fleur de peau Collection reveals the pioneering character of a collector’s taste and underlines the ambition and the trajectory of the journey undertaken in search of new artists.
The works will be presented in dialogue with each other, for example, Jim Dine will be placed next Hervé Télémaque, George Condo with Zoran Music, Emil Nolde with Bernard Frize, and Victor brauner with Sam Szafran.