A portrait of someone is something highly personal and more often than not are to show a true representation of the subject. When it comes to the subject of art and photography my main interest has always been people.
Most commonly how people go about their life and the task of making something simple look magical and exciting. A lot can be found out about a person when taking their portrait. Whenever I look at a portrait I am intrigued as to who the person is, their relationship to the artist, their history and what they like to do. When it comes to distortion of a portrait I really think this can affect how the viewer sees it, as well as how they see the subject . I think colour and distortion can be paired together and one without the other would be a lot less effective and have a lesser impact. David Hockney (born 9 July 1937) is one of the most noteworthy and significant artists of the 20th century, an extremely important contributor to the art of the 1960s and a great inspiration to my own work. From 1968 and the following years Hockney began his long complicated relationship with portraits.
He would only paint friends, lovers, and relatives and no one else, in just under life-size and in a style that depicted a good likeness of his subjects. His drawings often show a style that’s suggests his placement in the room and around the subject which portrays his perspective and point of view. As a young man, upon his arrival in America he made the switch from oil paint to acrylic paint. He preferred the texture as well as the brighter and bolder colours.
This was likely the beginning of his classic style.David Hockney has also pursued his work through photography, although he says ‘Photography will never equal painting!’ I believe this to be an invalid statement as art and photography are two entirely different types of media and should not be compared in a way to hinder one or another. However he does make judgemental comments about photography such as “Photography is only good for mechanical reproduction” as well as “Photography can’t show time” and even…”I’ve seen professional photographers shoot hundreds of pictures but they are all basically the same. They are hoping that in one fraction of a second something will make that face look as if there were a longer moment…If you take a hundred, surely one will be good. It could be anybody doing it…are few good photographs, and those good ones that do exist are almost accidental. Has failed…How many truly memorable pictures are there? Considering the millions of photographs taken, there are few memorable images in this medium, which should tell us something.
Can’t lead us to a new way of seeing. It may have other possibilities but only painting can extend the way of seeing.” It could even be said he took this vow fairly seriously when he abruptly ended his famous ‘joiners’ project after he became fed up with the ‘one eyed’ approach of photography. Hockney’ s photography never excited him really until he stumbled upon the idea of what would become his ‘joiners’. These took place between the 70’s and the 80’s, mostly taking off in the latter years. Hockney believed that the wide angle lenses of the time were producing distorted images, not only that but when he pondered upon it he realised that a single image can be taken in a fraction of a second yet whilst painting a portrait each section of that person is pored over for often hours upon hours.
He said that when looking at an image that was taken in a fraction of a second for maybe four or more seconds we have alreadydy looked at it for far longer than it ever took to take.