David Hockney's return to Yorkshire in the early 21st century marked a dramatic shift in his artistic focus, from the glamorous swimming pools and California light of his early career to the landscapes of the English countryside. The article recounts a visit to the blockbuster exhibition "David Hockney 25" at the Fondation Louis Vuitton in Paris, which emphasized his later works—iPad paintings of his Normandy garden, Yorkshire fields, hay bales, and ponds—arguing they rival his famous early pieces. The author also shares personal memories of dining with Hockney after a private visit to the National Gallery, where the artist discussed his theories on Old Masters' use of camera obscura, and describes Hockney's life in Bridlington, where he painted en plein air in a style reminiscent of French Impressionists.
This matters because it challenges the conventional art-historical narrative that Hockney's best work is behind him, asserting instead that his later, more pastoral and technologically driven creations (like iPad drawings) are equally significant. The article highlights Hockney's evolution from a pop-art icon of the 1960s and 70s to a deeply engaged student of art history and landscape, reflecting broader themes of artistic reinvention and the enduring relevance of older artists. It also underscores how Hockney's personal choices—leaving California, embracing deafness, and adopting digital tools—have reshaped his legacy, making this a compelling case study in how major artists can redefine themselves late in their careers.