and Kahlo, but a metaphor of what Hockney might be hoping it achieves. For this patient painter of faces and places is also, we’re reminded, a lover of sensory spectacle with a deeply Romantic side. One of the best sections of the show revisits the chromatically brilliant, wittily postmodernist opera and ballet designs he painted in the 1970s and 80s.
What is this, exactly? It’s not an exhibition, nor does it have the searching honesty of a great cinema or television documentary. For the commentary is all Hockney, without any challenging or probing voices to complicate the story. He likes his work to be discussed in terms of the paradoxes of perspective, the differences between camera and human eye – and not a lot of biographical nonsense about his personal life.
But his theories on art are a bit dry for a lightshow. Suddenly we get a lecture on why Renaissance perspective was a dead end. If this is supposed to be accessible fun for everyone, ranting about Brunelleschi’s misunderstanding of optics is surely off target. Yet the quarrel with perspective leads eventually to an eye-opening encounter with Hockney’s experiments with cubistic photography.
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