Lot 214
  • 214

David Hockney

400,000 - 600,000 USD
bidding is closed


  • David Hockney
  • A Closer Grand Canyon
  • signed with the artist's initials and dated 98
  • pastel on paper, on 3 attached sheets


Private Collection, New York
Private Collection
Bonhams, London, October 31, 2005, lot 99
Gerald Peters Gallery, Santa Fe
Acquired by the present owner from the above sale


Paris, Centre Georges Pompidou; New York, Richard Gray Gallery; London, Annely Juda Fine Art, David Hockney: Space & Line, January - September 1999, pp. 42-43, illustrated
Hamm, Germany, Gustav-Lubcke Museum, New Ways of Seeing, April - July 2006, pp. 24-25

Catalogue Note

A Closer Grand Canyon, executed in 1998, delivers a superb illustration of David Hockney’s unique and intriguing working process. Scenes like these were created at the crux of his career during a switch into landscape exploration and technological inspiration. David Hockney is extremely concerned with the meaning behind his processes and this work wonderfully portrays that curiosity.

Prior to the late 1990s, Hockney’s forays into the landscape genre were primarily depictions of the strong colors and vibrant light of California, his adopted home. These creations were infused with vestiges of his emotional attachment to America and the American landscape. The expanse of this geologically incredible location amazingly depicted in the pinks and organges of Hockney’s pastels are only one subject to be seen. This image charts Hockney’s experience with and love for America. The Grand Canyon is known for its overpowering size and its intricate and vibrant landscape as well as its connection to Native American and contemporary American imagery. The intense beauty of the canyon is awe-inspiring, effecting all who encounter it.  Hockney’s drawing elevates the location, as a product of one of the most important contemporary artists, from a geological landscape to a vivid and emotional human experience. As a study, it invites us to explore the space and develop it further within the context of our own familiarity.

As a result of Hockney’s fascination with photography, technological processes, and the possibilities offered by multiple perspectives as a means of defining pictorial space, the artist’s paintings inevitably developed. The insights and foresights that photo-collage brought Hockney developed his perception and representation processes. Grand Canyon with Ledge, Arizona, Oct. 1982, Collage #2, which Hockney made in May 1986 is a study of the same space as A Closer Grand Canyon. Both studies embrace multiple perspectives and experiment with spatial representation in a large scale across multiple pieces. Hockney’s intense connection with the scene depicted defines this serene landscape as an epic homage to this great American location but also to his appreciation for the working progress.