David Hockney’s Literary Influences: A Journey Through Words & Images

Introduction to C.P. Cavafy and His Poetry

C.P. Cavafy, a 20th century Greek poet, is renowned for his evocative exploration of themes such as love, memory, and desire. His work is intimate and evocative, often reflecting on the transient nature of life, the complexity of human emotions, and subtle defiance of societal norms, particularly concerning homosexual love. Writing during a time when homosexuality was illegal in many countries, Cavafy had to navigate the boundaries of what was permissible, often resorting to suggestion rather than explicitness. Hockney, captivated by Cavafy's ability to articulate such profound themes with subtlety and grace, found a kindred spirit in the poet’s work.

Hockney’s Visual Interpretation

Hockney’s admiration for Cavafy’s work culminated in his 1966 series of etchings titled Illustrations for Fourteen Poems by C.P. Cavafy. In this series, Hockney sought to visually interpret the emotional depth and subtle nuances of the poet's explorations of homosexual love and memory. While Cavafy had to veil his references to homosexual love, Hockney chose to present these themes openly and unapologetically. His prints, such as Two Boys Aged 23 or 24 (1966), The Beginning (1966), and In Despair (1966), depict semi-nude men in intimate moments together. These images capture the essence of Cavafy’s exploration of forbidden love and the transient nature of human connections, and are particularly notable for how they encapsulate the ephemeral beauty and quiet melancholy of Cavafy's verses. Contrastingly, one particularly striking piece, In An Old Book, features a full-frontal male nude, Hockney boldly embracing the homoeroticism that Cavafy could only hint at.

Hockney’s process for this series involved a blend of inspiration and technique. He commissioned his own translations of Cavafy’s poems, although his initial inspiration came from a copy of Cavafy’s work he borrowed from the Bradford Library in 1960. The 12 etchings were created with a combination of methods, some drawn from life, others from his previous drawings or photographs. Consistent with his other etchings and lithographs, the compositions are characterised by their spare backgrounds and fine lines that sharply delineate the figures, this minimalist approach amplifying the emotional weight of the scenes.

The Impact of Cavafy on Hockney’s Art

Illustrations for Fourteen Poems is a testament to Hockney’s ability to convey complex emotional states through minimalist and poignant imagery. Published in 1967, the same year that homosexuality was decriminalised in Britain, the series can be seen as a powerful statement, a celebration of gay love and a call for acceptance. Hockney himself acknowledged the series as a form of “good propaganda,” reflecting his pride in contributing to the movement for gay rights through his art. One of the prints, In The Dull Village, was included in the British Museum's renowned series A History of the World in 100 Objects, highlighting its cultural significance.

The Brothers Grimm and Their Dark Tales

The Brothers Grimm are renowned for their collection of German fairy tales, which are steeped in dark, moralistic themes and psychological complexity. These stories, often filled with unsettling elements and profound moral lessons, have fascinated readers for generations. Hockney was particularly drawn to the depth and intricacy of these tales, finding in them a rich source of inspiration for his art. Their exploration of human nature, combined with the eerie and often foreboding atmosphere of the stories, resonated with Hockney’s own interest in the psychological underpinnings of literary narratives.

Hockney’s Approach to Fairy Tales

Hockney’s Illustrations for Six Fairy Tales from the Brothers Grimm,conceived over three years and published in 1969, represent a distinct departure from traditional fairy tale illustrations. Unlike the ornate and detailed approach often seen in this genre, Hockney’s etchings are marked by minimalist backgrounds and a playful, experimental style. The mostly blank backgrounds, in particular, contrast sharply with the photographic naturalism that was beginning to characterise his painting during this period. This choice allowed Hockney to focus on the essence of the characters and their stories, stripping away extraneous details to highlight the underlying themes.

In this series, Hockney also explored new techniques that enhanced the storytelling aspect of his work. He used soft ground etching to create marks that mimic the spontaneity of drawing on paper, and employed aquatint to introduce varying tones, as seen in prints like The Lake (1969) and The Boy Hidden in an Egg (1969). These techniques allowed Hockney to imbue the images with a sense of depth and texture, enhancing the dramatic contrast between light and dark.

The Role of Minimalism and Abstraction

Minimalism and abstraction play a crucial role in Hockney’s interpretation of the Grimm fairy tales. By using extensive cross-hatching, Hockney achieved deep blacks and rich textures that amplify the psychological tension of the scenes. This approach underscores the darker aspects of the tales, emphasising the moral and psychological complexities at their core.

This series is a testament to Hockney’s skill as a draughtsman and his mastery of printmaking. It highlights his ability to convey narrative through minimalistic and abstract forms, offering a fresh perspective on these timeless tales. The Six Fairy Tales not only showcase Hockney’s ingenuity in composition, but also mark an important moment in his artistic exploration of narrative and storytelling.

Wallace Stevens and The Blue Guitar

Hockney’s 1976–77 series The Blue Guitar was inspired by Wallace Stevens’ poem The Man with the Blue Guitar, which explores themes of perception and reality, and was itself inspired by Picasso’s The Old Guitarist (1903). Hockney reinterpreted Stevens’ abstract ideas, blending them with visual references to Picasso’s cubism. The result was a series that showcased Hockney’s ability to merge literary and visual art forms into a cohesive narrative.

William Hogarth’s A Rake’s Progress

Hockney was also influenced by William Hogarth’s 18th-century narrative series, A Rake’s Progress, a series which offers a satirical portrayal of a young man’s descent into ruin as he recklessly squanders his inheritance on gambling and debauchery, ultimately ending up in Bedlam. This moral critique of societal and financial irresponsibility served as a rich foundation for Hockney, who reimagined the narrative through a modern lens. Hockney’s A Rake’s Progress not only pays homage to Hogarth’s work but also transforms it into a vibrant exploration of contemporary themes, including the artist’s personal journey as a young gay man navigating life in New York. Hockney’s version reflects his own experiences and the broader societal changes of the 1960s, blending classical narrative with innovative artistic techniques to create a dialogue between past and present.