As you approach the Fondation Louis Vuitton in Paris’s 16th arrondissement, a vibrant neon pink message adorns the building’s sail-like design: “Do remember, they can’t cancel the spring.” This phrase, written in the distinctive style of British artist David Hockney, serves as both a reminder and a comforting thought during uncertain times. It sets the stage for the foundation’s spring exhibition, a comprehensive showcase of Hockney’s versatile work titled “David Hockney 25.” Running until August 31, 2025, the exhibition is co-curated by the foundation’s director, Suzanne Pagé, and renowned British curator, Sir Norman Rosenthal, with significant involvement from Hockney himself. The display features over 400 pieces across various media, including oil and acrylic paintings, drawings, digital art, and immersive video installations, created between 1955 and 2025.

Hockney has consistently resisted being pigeonholed into specific styles or movements, focusing instead on the subtle details of his observations. Although often associated with Pop art, he grew weary of this label during the 1960s and ’70s. His artistic journey is driven by a passion for creation, often working in “cycles” that reflect new experiences and environments. Even at 87, despite health challenges linked to his fondness for cigarettes, Hockney shows no signs of slowing down. Some pieces in the exhibition were completed so recently that they missed the print deadline for the catalogue.

“David teaches us how to truly see what’s around us: the leaves, the flowers in spring, and the everyday moments of life. Often we look but don’t really see,” Pagé shared with Artsy. “I hope visitors leave this exhibition with a renewed sense of wonder, recognizing the beauty in the ordinary that they have always carried within themselves. That is the gift David has given us all.”

In honor of his latest exhibition, Artsy has highlighted some of Hockney’s most significant works showcased in Paris.

Portrait of My Father, 1955

Portrait of My Father (1955) is one of Hockney’s earliest works, created at the age of 18, showcasing his early talent in portraiture. Hockney’s passion for art began in his childhood in Bradford, England, where he decided at 11 to pursue a career as an artist. His parents supported his artistic endeavors by arranging private lessons. At 16, he enrolled in the Bradford School of Art, which emphasized traditional observational drawing, where he discovered his love for painting. Hockney often roamed Bradford with a cart of painting supplies, capturing the city amid the shadows of World War II. After graduation, he sought a more modern artistic approach and joined the Royal College of Art in London in 1959.

This piece was featured in the “Yorkshire Arts Exhibition” at Leeds Art Gallery, marking Hockney’s first sale, a significant milestone for an artist whose works now fetch tens of millions. His painting Portrait Of An Artist (Pool With Two Figures) (1972) sold for $90.3 million at Christie’s New York in 2018, setting a record for the most expensive work sold at auction by a living artist.

A Bigger Splash, 1967

“When you think of California, you think of David Hockney,” Rosenthal remarked to Artsy. Following his university years in London during the “Swinging Sixties,” Hockney was drawn to California’s hedonistic allure, embracing its rebellious spirit and acceptance of homosexuality, which was illegal in England at the time. He moved to L.A. in early 1964, motivated by his newfound sexual freedom and interest in Hollywood. Hockney lived in California for nearly four decades.

His fascination with Los Angeles’s pools, palm trees, and sunshine is epitomized in A Bigger Splash (1967). This work marks a shift from his earlier, more abstract pieces, showcasing a pool with the splash of someone diving in. The painting lacks a central subject, inviting viewers to imagine who has just jumped in, capturing a fleeting moment of excitement. Hockney’s interest in the interplay of water and light led him to create numerous works featuring swimming pools, each rendered in unique styles.

Mr. and Mrs. Clark and Percy, 1971

One of Hockney’s significant double portraits, Mr. and Mrs. Clark and Percy (1971) depicts his friends, fashion designers Ossie Clark and Celia Birtwell, shortly after their wedding. The painting deviates from traditional marriage portraits by presenting Birtwell standing while Clark relaxes in a chair, both subjects engaging directly with the viewer. Percy, their cat, is perched on Clark’s lap. The portrait hints at the underlying tensions in their relationship, as they would separate shortly after.

Birtwell has been a recurring muse for Hockney, appearing in nearly 30 of his portraits. Hockney’s habit of revisiting the same subjects reflects his interest in documenting the passage of time. Between 1968 and 1975, he created seven notable double portraits, including one of novelist Christopher Isherwood and artist Don Bachardy. Mr. and Mrs. Clark and Percy is regarded as one of Hockney’s masterpieces and was added to the Tate’s collection shortly after its completion, marking a pivotal moment in his return to London post-California.

A Bigger Grand Canyon, 1998

In 1997, Hockney embarked on a road trip through the American southwest, revisiting the Grand Canyon, a long-time fascination. He first photographed the canyon in 1982, experimenting with photographic collages. After his visit in the late ’90s, Hockney painted from memory, resulting in A Bigger Grand Canyon (1998), which spans 60 smaller canvases arranged in a grid. “It’s about the only place on earth that makes you look in every direction. You feel small,” he noted in an exhibition catalogue for a 1998 show at L.A. Louver.

This work celebrates the grandeur of the American landscape, featuring a bolder and more pigmented palette than his earlier pieces, reflecting a new style developed during his time back in Yorkshire after the death of his close friend, American sculptor Jonathan Silver.

Bigger Trees near Warter or/ou Peinture sur le Motif pour le Nouvel Age Post-Photographique, 2007

Bigger Trees near Warter or/ou Peinture sur le Motif pour le Nouvel Age Post-Photographique (2007) is Hockney’s largest work, created after returning to Yorkshire following his mother’s death. The piece carries a sense of melancholy, with leafless trees symbolizing the end of winter, yet a patch of daffodils peeking through conveys the transient beauty of life.

This monumental work, over 40 feet wide and composed of 50 canvases, is celebrated for its intricate detail, reminiscent of historical works by artists like Pablo Picasso ’s Guernica (1937) and Eugène Delacroix ’s Liberty Leading the People (1830). Hockney’s masterpiece dedicates equal meticulousness to depicting the arrival of spring, constructed from various perspectives through drawings made en plein air, which he then scanned and assembled digitally.

“I’d sit there for three hours just looking up at the branches,” Hockney explained, noting the extensive planning involved. “The deadline wasn’t the ‘Summer Exhibition’; it was the arrival of spring.”

27th March 2020, No. 1, 2020

During the initial Covid lockdowns, which Hockney spent in Normandy, he experienced a surge of creativity. 27th March 2020, No. 1 (2020) introduced a new medium for him: the iPad. Captivated by its ability to capture scenes with immediacy, Hockney found it a valuable tool for rendering light and making quick revisions. He often shared completed works with family and friends via email. Hockney has become an advocate for the technology, suggesting that if Van Gogh had access to an iPad, he would have embraced it.

This piece brought joy during the dark times of Covid, circulating widely on the internet. It was later printed and mounted on aluminum, affirming Hockney’s view of the tablet as a legitimate medium for image creation, equal to traditional tools.

The work reflects Hockney’s enduring theme: the arrival of spring. “David is passionate about life, and one of life’s great joys is the coming of spring,” Rosenthal observed. “He captures not just spring but also winter, night, storms, and the moon; he represents the randomness of existence and nature, keenly aware of both life and death.”

Artsy Source: https://www.artsy.net/article/artsy-editorial-6-iconic-david-hockney-artworks-major-paris The Future of Art Collecting.