Portraits of textile designer Celia Birtwell will be on display during Dulwich Picture Gallery’s major exhibition ‘Hockney, Printmaker’ (5 February- 11 May 2013). The show is timed to coincide with the 60th anniversary of David Hockney’s first print, and will provide an instructive and entertaining overview of the artist’s career as printmaker. Grouped by theme and technique in a series of displays, the exhibition featuring over 100 works will include eight portraits of Celia created between 1973 and 1998.
Celia first saw Hockney in 1968 in Portobello Road, and later met him again through Ossie Clark who was friends with Hockney at the Royal College of Art. After this time she became a regular presence in the artist’s work, including his prints; of which she features in approximately 30, constituting about a quarter of his total printed portrait oeuvre. A shared interest in aesthetics and a fascination with each other’s work and style have drawn them together. Hockney said “She’s playful, funny. When I first met her, I was attracted to the fact that she could make me laugh, and that’s a very big appeal to me”
Hockney’s depictions of her show his attitude towards portraiture in general, that it should be based on a psychological insight into his sitters’ lives, hence his aversion to commissioned portraits. Hockney believes that you can only draw someone when you know them and the closer the relationship the better the portrait.
Many of the Celia portraits reference the private, domestic scenes of Matisse and late 19th century artists such as Degas, depicting women engaged in routine activities, dreaming or sunk in thought. The portraits of her included in the show span a quarter of a century, and we can see that as Hockney grew in confidence, they became increasingly vibrant, energetic and bold, such as An Image of Celia, State II (1984-86). He created his larger lithographs, such as Big Celia Print #2, using long-handled brushes and dilute lithographic inks. The drips and splashes attest to the speed with which the prints were executed; a refreshing contrast to traditional lithographic portraits, which often took days to complete.
Celia Birtwell said:
“We have always felt completely comfortable in each other’s company. We amused each other. I found posing for him to be a very intimate, and silent, affair…Before commencing we have a conversation about how he wants me to look. I could look left or right. He may say, ‘Move your arm.’ ‘Sit further back.’ ‘Look out of the window.’ then comes the moment when he suddenly says, ‘I like that.’ whilst he’s drawing me I can see the intensity, struggle and concentration on his face. The intensity is extraordinary. After an hour or so he’ll say, ‘do you want to take a break, luvvie?’ Sometimes I take a peek at the portrait, other times I prefer to wait until it’s finished. He always says he doesn’t appeal to vanity. Whatever my feelings are, they are always amazing.”
‘Hockney, Printmaker’ is curated by Richard Lloyd, International Head of the Print Department at Christie’s. Loans have been secured from key lenders including Salt’s Mill, Saltaire, David Hockney Inc., David Hockney Foundation, National Gallery of Art, Washington, National Gallery of Art, Canberra, Bradford Museums and Galleries, Tate and Private Collections. A fully illustrated colour catalogue published by Scala accompanies the exhibition and features an illuminating text by Celia Birtwell. It will explore the key themes in the exhibition in the context of the artist’s biography, together with texts from contributors such as Marco Livingstone, John Kasmin, Peter Tatchell and Martin Gayford.
Image: Celia Birtwell sitting for Hockney as he draws Celia with Wind and Snow from his Weather series and Chair – ,- The Colony, Malibu pinned to wall. Gemini G.E.L., artist’s studio, Los Angleles, California. National Gallery of Australia, Canberra, gift of Kenneth Tyler 2001.
