A Bigger Splash is one of a number of paintings Hockney made of Californian swimming pools. He has captured the moment just after someone has dived in. The splash is the only clue to their presence in the scene. Hockney was interested in using paint to capture transparent materials such as water, and fleeting moments, like the splash. The 1960s are often seen as the time that Britain emerged from the difficulties of the post-war years into a period of optimism. This colourful work seems to reflect this feeling.
A Bigger Splash is a large pop art painting by British artist David Hockney. Measuring 242.5 centimetres (95.5 in) by 243.9 centimetres (96.0 in), it depicts a swimming pool beside a modern house, disturbed by a large splash of water created by an unseen figure who has apparently just jumped in from a diving board. It was painted in California between April and June 1967, when Hockney was teaching at the University of California, Berkeley. Jack Hazan's fictionalised 1973 biopic, A Bigger Splash, concentrating on the breakup of Hockney's relationship with Peter Schlesinger, was named after the painting.
In a March 2009 interview for the Tate, to the question \"Who jumped into the pool\" Hockney answers: \"I don't know actually. It was done from a photograph of a splash. That I haven't taken, but that's what it's commenting on. The stillness of an image. (...) Most of the painting was spent on the splash and the splash lasts two seconds and the building is permanent there. That's what it's about actually. You have to look in at the details.\"
The only section to break the balanced and cool abstraction of thestrong horizontals and verticals is the diagonally placed diving boardand the splash. The spindly diagonal legs of the folding chair in thedistance echo the thrust of the actual splash, while the point atwhich the swimmer entered the pool, creating the splash, is emphasizedand delineated above by an odd thickening of the narrow white linealong the roof.
Hockney recalls that he began the painting by drawing the basic linesof the composition; it is unclear whether he means that he actuallydrew by graphic means upon the canvas or that he mapped out the linesand the areas they enclose by using strips of self-adhesive maskingtape. Certainly there is no evidence of a preliminaryunderdrawing. The painting is executed in Hockney's favorite Liquitexon white cotton duck canvas. Except for the splash, the paint surfaceis very flat.
Hockney applied the paint to the various geometric divisions with apaint roller, and gave each area two or three layers. The coloredareas abut one another, and the only parts where there isoverpainting, as opposed to successive layering of the same tint ofpigment, are those of small details, such as the grass, trees, thereflections in the window, the chair and the splash. These werepainted on afterwards with a variety of brushes. Hockney obviouslyenjoyed working on the splash, '...the splash itself is paintedwith small brushes and little lines; it took me about two weeks topaint the splash. I loved the idea, first of all, of painting likeLeonardo,all his studies of water, swirling things. And I loved theidea of painting this thing that lasts for two seconds; it takes metwo weeks to paint this event that lasts for two seconds.'
The heart wants what it wants and yet each action that desire produces has an impact that extends beyond the heart; an effect not only for the individual who enacts it, but often also for the society that encapsulates them. Every action has a reaction. Every action has consequences that ripple outwards to make a bigger splash in the wider world.
Imagine a summery day; it is hot outside, and all you want to do is jump in the pool and splash around. This article will discuss A Bigger Splash (1967) by David Hockney, which is equally enticing and mysterious, both still and full of life.
A Bigger Splash by David Hockney was painted in 1967, which was when the artist was living in California. It was the final and biggest version of three renderings of water splashing alongside the characteristic Californian natural and urban surroundings.
The water in the swimming pool is almost as clear blue as the sky above and appears motionless except for the large splash of water in front of the edge of the diving board as if someone just jumped into the pool, however, Hockney did not portray any figure, or figures in the composition, which gives the composition a more mysterious quality.
The overall texture of the paint on A Bigger Splash appears as large and smooth areas of color, and reportedly Hockney started with large areas of paint, namely the sky, house, and swimming pool, which were applied to the canvas with a paint roller. Smaller areas of detail were applied with a paintbrush. Reportedly David Hockney spent two weeks creating the splash, which he did with small paintbrushes.
If you look closely at the splash of water you will notice the various types of brushstrokes, from dots to curved lines and squiggles and splotches, some are thick, thin, short, and long, and deliberately applied to create the texture of water.
The British artist David Hockney created the famous acrylic on canvas splash painting, which is titled A Bigger Splash (1967). It is the latter iteration of three versions, the first two of which are called The Splash (1966) and A Little Splash (1966).
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