λ DAVID HOCKNEY (BRITISH 1937-2026), JACK KENNEDY, MODEL, U.C.L.A.

λ DAVID HOCKNEY (BRITISH 1937-2026) JACK KENNEDY, MODEL, U.C.L.A. Pen and ink Signed with initials, titled and dated 1966 (lower right) 35.5 x 43cm (13¾ x 16¾in.) Provenance: Kasmin Gallery, London Sale, Christie's London, 25 October 1995, lot 119 Acquired from the above by the present owner Exhibited: Bielefeld, Kunsthalle Bielefeld, David Hockney Zeichnungen, Grafik, Gemälde, 25 April - 30 May 1971, no. 30 (illustrated in the exhibition catalogue p. 22) The 1960s was a seminal time in Hockney’s career. Already lauded on the international art scene, he was drawn to the sun-drenched landscape and liberal bohemian atmosphere of California, moving to Los Angeles in 1964. These years are often viewed as some of the most formative in his career, culminating in the famous pool paintings later in the decade. In 1966, Hockney took up a teaching post at U.C.L.A where this drawing was executed. The sitter is Jack Kennedy, aspiring model and Hockney’s lover and muse. The pair had first met in the mid-sixties in London and their relationship developed into one of both personal and artistic significance with Kennedy depicted in a number of paintings, drawings and prints of the period. The present drawing is typical of Hockney’s sparse linear style that epitomised his time in California. The stark bright light contrasted vividly with his life in London, characterised by dark shadows and heavy cross-hatching. Hockney leaves much of the paper empty and uses a single, flowing line to illustrate the sitter’s body and clothes. Whilst the face holds greater detail, it is still governed by an economy of line. In presenting Kennedy in this way, Hockney strips away the unnecessary, revealing a vulnerability and intimacy in both his subject and the artist’s relationship to him. Condition Report: The work was not examined out of its glazed frame. The left and right edges of the sheet are visible and are very slightly discoloured, otherwise the work appears to be in good condition. Condition Report Disclaimer, λ, λ DAVID HOCKNEY (BRITISH 1937-2026) JACK KENNEDY, MODEL, U.C.L.A. Pen and ink Signed with initials, titled and dated 1966 (lower right) 35.5 x 43cm (13¾ x 16¾in.) Provenance: Kasmin Gallery, London Sale, Christie's London, 25 October 1995, lot 119 Acquired from the above by the present owner Exhibited: Bielefeld, Kunsthalle Bielefeld, David Hockney Zeichnungen, Grafik, Gemälde, 25 April - 30 May 1971, no. 30 (illustrated in the exhibition catalogue p. 22) The 1960s was a seminal time in Hockney’s career. Already lauded on the international art scene, he was drawn to the sun-drenched landscape and liberal bohemian atmosphere of California, moving to Los Angeles in 1964. These years are often viewed as some of the most formative in his career, culminating in the famous pool paintings later in the decade. In 1966, Hockney took up a teaching post at U.C.L.A where this drawing was executed. The sitter is Jack Kennedy, aspiring model and Hockney’s lover and muse. The pair had first met in the mid-sixties in London and their relationship developed into one of both personal and artistic significance with Kennedy depicted in a number of paintings, drawings and prints of the period. The present drawing is typical of Hockney’s sparse linear style that epitomised his time in California. The stark bright light contrasted vividly with his life in London, characterised by dark shadows and heavy cross-hatching. Hockney leaves much of the paper empty and uses a single, flowing line to illustrate the sitter’s body and clothes. Whilst the face holds greater detail, it is still governed by an economy of line. In presenting Kennedy in this way, Hockney strips away the unnecessary, revealing a vulnerability and intimacy in both his subject and the artist’s relationship to him. DAVID HOCKNEY (BRITISH 1937-2026), JACK KENNEDY, MODEL, U.C.L.A. 1966, Provenance:, Exhibited:, David Hockney Zeichnungen, Grafik, Gemälde, Condition Report:, The work was not examined out of its glazed frame. The left and right edges of the sheet are visible and are very slightly discoloured, otherwise the work appears to be in good condition. Condition Report Disclaimer

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