The Fondation Louis Vuitton in Paris has opened "David Hockney 25," a major retrospective billed as focusing on the past quarter-century of the British artist's work but actually spanning his entire career, from a 1955 portrait of his father to recent Yorkshire landscapes. The exhibition, curated by Norman Rosenthal and supported by the foundation's substantial budget, features loans from institutions worldwide and private collections, including the striking "Berlin: A Souvenir" (1962). It is the largest Hockney show ever staged, filling the Frank Gehry-designed museum with iconic swimming pool scenes, double portraits, vibrant landscapes, and densely hung salon-style galleries of family and friends.
This exhibition matters because it offers a comprehensive, celebratory overview of Hockney's enduring practice as he approaches his 88th birthday, while also highlighting the growing divide between private foundation-funded blockbusters and resource-constrained public institutions. The show's scale and international loan list—from Singapore to Hawaii—underscore how private patronage can now mount exhibitions that would be financially prohibitive for most museums. It also provides a rare opportunity to trace Hockney's evolution from a young portraitist to a master of color and form, reaffirming his status as one of the most beloved living artists.