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Sources:

https://lalouver.com/exhibition.cfm?tExhibition_id=462
https://www.thedavidhockneyfoundation.org/chronology/2002

https://www.studiointernational.com/index.php/david-hockney-painting-on-paper

https://www.artlex.com/artists/david-hockney/

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A 140-page, hardbound, full-color catalogue, with a foreword by Peter Goulds and an essay by Lawrence Weschler, has been published by L.A. Louver together with David Hockney, on the occasion of this exhibition.

In 2002, following the publication of his book Secret Knowledge, in which he explored the use of optical projections in Western art from the time of Byzantium to Cézanne, David Hockney moved away from the camera and back towards the hand. In so doing, Hockney chose to paint in watercolour, a medium that he had rarely used previously. The watercolours in Hand Eye Heart are the result of Hockney's extended visits to East Yorkshire during late 2003 and 2004. This landscape first engaged the artist's imagination as a teenager when he worked the fields, stooking corn.

Hockney's embrace of watercolour affords him the ability to capture the subtleties of the ever-changing weather patterns and diffused light of the northern landscape. Venturing out on long drives with paintbrushes and small pots of paint in hand, Hockney made small watercolour studies in a notebook. Later in the studio, he worked up the studies to large paintings, using single or double sheets of thick paper that support the swaths of watercolour paint and layering of colour.

publications page

Selected articles

Fred Schruers. "Far from white-hot L.A., David Hockney embraces the cool vistas of his youth."
Los Angeles Times, Sunday, 30 January 2005, p. E1.
full article, PDF

Pagel, David. "Rustic rides with David Hockney."
Los Angeles Times, 11 March 2005, E34.
full article, PDF

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l.a. louver gallery presents david hockney: “hand eye heart”<br>watercolors of the east yorkshire landscape. works by david  hockney.

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David Hockney: "Hand Eye Heart" Watercolors of the East Yorkshire Landscape

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A 140-page, hardbound, full-color catalogue, with a foreword by Peter Goulds and an essay by Lawrence Weschler, has been published by L.A. Louver together with David Hockney, on the occasion of this exhibition.

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Influences
My inspiration for my original inspired piece where the two pictures I used as examples of Hockney's work. To make the tree, as seen in the process pictures, I used masking fluid. A tool most likely used in many of Hockney's works to make the whites and lights stand stark against the darker and more colorful backgrounds.

I also decided to experiment using the actual painting materials, replacing the brush with a sponge for the first layers of actual paint on the inspired piece. Similar to how Hockney, in a new medium, had to move slowly and plan each move, so had I between the two paintings I made based on his work. Both together took over a week to complete as I worked on both at the same time

You can see the differences and improvements between the two paintings. Such as the background trees look better in the Artist's copy than here as I did them first on this original piece and improved as I continue to experiment and work on them so by the time I made them on the Artist's Copy they
looked better.

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"Hand Eye Heart:  Watercolors of the East Yorkshire Landscape, Watercolor, 29.5 inches x 83 inches 2002

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Image of your completed painting executed in the style of/inspired by the artist you chose

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Hockney realized he had to change his usual approach he had with painting when painting with watercolor. Unlike with the oil and acrylics that he was used to, you need to plan with water color. You can't add light on top of dark like you can with the other mediums, you have to go in order of light to dark and layer it. Along with the general flow that watercolor requires you to work with. So he took more time and worked slower, going layer by layer to create the final pieces.

Describe your artist's painting process/approach

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Context
I chose this picture because I immensely enjoyed the painting. Although one of the most challenging paintings I could have chosen to copy (I even said so when going over potential paintings with Ms. Scully), I wanted to recreate it.

The first thing I did once I decided to recreate it was roughly outline, with a pencil, all the major shapes in the foreground. This helped with the first layer of the piece as I decided to use layering to get the finished result. This decision came from two places. The first is to take more time. The most persistent criticism I had gotten on pieces is that they seem a bit rushed. As such I decided to take as long as I physically could. The second is my attempt at painting the picture from the bottom layer up. My mind immediately breaks down art pieces into individual aspects from end product to start. Although this works fine with acrylic and drawing, with watercolor I needed to look at it more like layers on a digital art pad.  A suggestion Scully made.

I actually worked on both this and the original inspired piece at the same time, improving between the two. An example being the sky being more in-depth in the original piece as I tried it after attempting the sky in the copy which is why it looks a lot better in my opinion with the very miasmic clouds. While the background trees look better in the copy as I have learned how to better shape them by the time I got back to the copy.

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Born in 1937 he is known most for his acrylic paintings. Candid paintings such as The Splash and its sequel are still some of his most expensive works today. Prior to the early 2000s, he had not even considered watercolor a true form of art. Sticking to oils and acrylics That is until he saw an exhibition of Chinese watercolors. After this exhibition, he immediately started painting portraits of his friends in his hotel room in the medium. It could be said that his decision to broaden his horizons here is what made him so open to art technics that were immerging like digital art which to this day is still debated whether or not it should be considered in the fine art medium (although modern consensus has been pushing more and more to yes).

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Magnolia Edwardes Square (3rd Version), Watercolor, 24 inches x 18.125 inches, 2002

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"Hand Eye Heart:  Watercolors of the East Yorkshire Landscape, Watercolor, 29.5 inches x 41.5 inches 2002