Purchased for $4.6m the painting was the largest sum of … Hockney, quoted in Marco Livingstone, ‘Getting closer to the Grand Canyon: David Hockney interviewed by Marco Livingstone’, in David Hockney Space dLine: Grand Ginyonpasteic on paper 1998 d works on paper 1966—1994, New York: Richard Gray Gallery, 29 April—28 May 1999; London, Annelyjuda Fine Art, 30 June—18 September 1999, p.19. In fact, Hockney has applied his paint in the manner of Vermeer, with the subject built up by the application of thin layers of oil. 2 The visual impact, on even the most jaded twenty-first century eye, is as powerful and confronting as a Fauve palette would have been in the restrained world at the beginning of the last century. I mean, it is the one place … Charcoal, pencil, ink drawing, with tape on three sheets, 57.1 x 199.3 cm overall, Collection of Dale Chihuly. Photo-collage, 113.0 cm x 322.6 cm overall , Collection of David Hockney These works formed the basis for Composition study for A Bigger Grand Canyon.’ 23 As a young boy in Bradford, he frequented the cinema and was mesmerised by the big screen, its scale and colours. 20 8 Hockney presents the Grand Canyon without tourists or evidence of human intrusion such as abandoned mines. 14 As the work progressed, the imagery had become more and more dramatic. Photographing the unphotographable The subject, according to the artist, is “Looking at the Grand Canyon”, not just “the Grand Canyon”. For recent examinations of the role of Cubism, photo-collages etc., see Reinhold Misselbeck (ed), David Hockney: Retrospektive photoworks, Cologne: Editions Braus, Museum Ludwig Köln, 1997; Gerard Regnier and Didier Ottinger (eds), David Hockney: Dialogue avec Picasso, Paris: Musée Picasso, Editions de Ia reunion des musées nationaux, 1999. A Bigger Grand Canyon is a culminating statement by the artist about the depiction of space and the experience of being within a space, or travelling through a space, over time. He commented later that he wanted ‘to photograph the unphotographable. Once considered as a place of terror, from the 19th century the Grand Canyon came to represent great Majesty the Heroic and westward expansion. Hockney’s obsession with the depiction of ‘big spaces’ had been fuelled by a visit, in December 1997, to the exhibition Thomas Moran at the National Gallery in Washington DC. ‘Far from being overwhelmed by this challenge, Hockney has produced not only one of the masterpieces of his maturity but also one of the most remarkable landscape paintings in the history of western art.’ In 1982 David Hockney took a series of photographs of the Grand Canyon that he placed together to form a collage. You don’t put white paint in colour that would make it somewhat chalky.’ Stephen Pyne, How the Canyon became Grand: A short history, New York: Viking Press, 1998. Parkes Place, Parkes ACT 2600 +61 2 6240 6411 On Hockney's obsession with the theme of landscape and space, see David Hockney Espace/Paysage (1999), passim. 20 There are lessons drawn from a careful examination of Chinese scroll painting where different time sequences, different elements of a cityscape or landscape form an apparent whole. I think mediums can turn you on, they can excite you; they always let you do something in a different way, even if you take the same subject, if you draw it in a different way, or if you are forced to simplify it, to make it bold because it is too finicky, I like that. In June and July 1997, Hockney made two long trips by car, from Los Angeles to Santa Fe and back: ‘I’d been contemplating some sort of big landscape of the West. Now, as a mature artist, he has applied extraordinary skill to the painting of A Bigger Grand Canyon. 22 Hockney, in David Hockney: Looking at landscape/ being in landscape (1998), p.5. He had long harboured a desire to work on the subject, ever since his early visit to America as a young man. In 1986, in preparation for a forthcoming exhibition at the International Center for Photography in New York, David Hockney Photocollage: Wider perspective, the artist revisited his preferred collaged view of the Grand Canyon. Hockney has created a 60 canvas work, with as many viewpoints and points in time. The artist’s solution for his two-dimensional image of the Grand Canyon was to take a series of photographs which, with their multiple vanishing points, he placed together as the collage, Grand Canyon with ledge, Arizona, 1982. Which is to say, space ... [T]here is no question ... that the thrill of standing on that rim of the Grand Canyon is spatial. Livingstone, David Hockney, Space & Line (1999), p.6, see also p.11,  footnote 7. The full expression of this would be to paint the Grand Canyon. 21 A momentary sense of soaring.’ Notes 1982, Collage #2, Made May 1986 19 The Cubist-type painting portrays the Grand Canyon in Arizona from many viewpoints and times of day. I thought I was making time, then you realise you’re making space… Then you realise time and space are the same thing.’ Grander. The National Gallery of Australia acknowledges the Ngunnawal and Ngambri peoples, the traditional custodians of the Canberra region, and recognises their continuous connection to culture, community and Country. The artist has woven together all the elements he perceives in his subject, and those he imagines. A Bigger Grand Canyon (right detail) National Gallery of Australia © 1999 David Hockney, ‘Hollywood at the end of the street’ The painting is a culminating statement about the depiction and experience of space. I thought that was marvelous.’ The viewer is able to round jagged outcrops, descend rocky steps, look down over dry river beds and view distant escarpments, while confronting at close hand strange sculptural forms. In an interview with the artist, Lawrence Weschler talked to Hockney about his recent paintings, including A Bigger Grand Canyon. 7 5 Until relatively recently, however, he was unable to draw upon the Romantic or neo-Romantic tradition of landscape art: personal experience, empathy, quasi-magical feelings aroused by a place or location, spontaneity - all triggers of artistic production for older generations of [British] artists. 25 8 9 A Bigger Grand Canyon is rich in golds, crimsons, scarlets, oranges, ochres and browns, and contrasts of brilliant blues and greens. Marco Livingstone, Report to the National Gallery of Australia 17 April 1999 p.1. These formed the basis for A composition for A Bigger Grand Canyon5A Bigger Grand Canyon. Those viewing this piece are often reminded of visits to the Grand Canyon and are of standing on the cliff edge with the splendour of the Canyon before them. Ibid. Hockney, in David Hockney: Looking at landscape/ being in Iandscape (1998), p.10. In his recent publication, How the Canyon became Grand, Stephen Pyne explores changing perceptions of the grand Canyon over the centuries, as that extraordinary site came to symbolise different values and ideas for different generations — from the Unknown to Populism, from Grandeur to Wilderness. Hockney made frequent trips through the countryside to be at the bedside of his friend. 9 [1], American Collectors (Fred and Marcia Weisman), Portrait of an Artist (Pool with Two Figures), A Walk Around the Hotel Courtyard, Acatlan, A Bigger Interior with Blue Terrace and Garden 2017, List of trails in Grand Canyon National Park, National Register of Historic Places listings in Grand Canyon National Park, https://en.wikipedia.org/w/index.php?title=A_Bigger_Grand_Canyon&oldid=971407805, Collections of the National Gallery of Australia, Creative Commons Attribution-ShareAlike License, This page was last edited on 5 August 2020, at 23:27. A time of bereavement The experience inspired a series of paintings of the Yorkshire landscape, a subject suggested by Silver — in order ‘to put some joy there’. It was this work which formed the painting over a decade later. 11 Paul Melia, Report to the National Gallery of Australia, 4 May Livingstone, Report to the National Gallery of Australia (1999), p.2. Brilliance of colour and vastness of space characterised a world of dreams when Hockney was growing up in the then heavily industrialised North of England. The final painting of the series, a view from Garrowby Hill, was a location that, to Hockney, imparted ‘this marvellous feeling, how you’re about to take off and fly. A Bigger Grand Canyon is a 1998 painting by David Hockney consisting of 60 canvases (in a 12x5 arrangement) that produce one large (7.4m-wide) picture. For Hockney, the problem with photography had always been that the composition was a single view — ‘such a tunnel to me’ I joked that Vermeer’s colors will last a lot longer than MGM’s, but it’s true.’ The last two paintings in the series, Double East Yorkshire and Garrowby Hill of early 1998, were painted on Hockney’s return to Los Angeles, after Silver’s death.

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