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David Hockney's bright swimming pools, split-level houses, and suburban Californian landscapes are a strange mix of calm and activity. In his 1960s acrylic paintings, which were as smooth as magazine pages, there don't seem to be any shadows. Patchworks of flat areas make it hard to tell how far away things are. Hockney's unique style comes from countless different places, like the Baroque, Cubism, and, more recently, computer images. This British Pop artist is a rule-breaker who is obsessed with the Old Masters. He breaks every rule deliberately, taking pleasure in breaking down proportion, linear perspective, and color theory. He shows that conventions are meant to be broken and that differences can live together. This is a message of tolerance that goes beyond art and has big effects on politics and society.
Like other Pop artists, Hockney brought back figurative drawing in a way that was similar to the way ads look. His love of cubism sets him apart from other people in the Pop movement. In the style of the Cubists, Hockney puts together different scenes to make one big picture. He chooses hard-to-understand places, like split-level homes in California and the Grand Canyon, where it's already hard to see depth.
Hockney insists on painting about his own life, which is another thing that sets him apart from most Pop artists. He paints scenes from his own life and the lives of people he knows. This puts him in the same group as Alice Neel, Alex Katz, and other artists who painted their surroundings in a way that didn't fit into a certain category or movement.
Hockney was gay and never tried to hide it. He has always been a strong supporter of gay rights. In a male art scene that thought "pretty color" was girly, Hockney's bright greens, purples, pinks, and yellows are strong statements in favor of sexual freedom.
Hockney was one of the first artists to try to copy the effects of photography in his work. He is also considered a heretic by purists who believe that drawing should only be based on what the artist sees in nature. Even though not everyone agrees, Hockney's study into the history of art has shown that Old Masters like Vermeer and Canaletto often used the camera obscura (an early type of camera) to improve their optical effects. He seems to be saying that if the famous Old Masters could use cameras, why can't we?