David Hockney (1937) is a painter, designer, scenographer, printer and photographer English and great exponent of Pop Art.
A relevant aspect of the art of the English creative, but which is not so well known, is linked to its scenography.
Hockney designed for him Royal Court Theater, Glyndebourne Festival, La Scala and the Metropolitan Opera House in New York.
In his set designs, Hockney uses a wide range of techniques such as recorded, collage and painting, media that he also applies directly to three-dimensional objects.
His first scenography was made with painted drops for the opera The Progress of the Libertine (1951), by Igor Stravinsky, in 1975 at the Glyndebourne Festival Opera in England.
From this first foray into the world of scenography, the theater became a great influence on the art and aesthetic conception of David Hockney.
In 1978 he created the scenography of The magic Flute; during 1982 he agreed to design the art and costumes for three XNUMXth century French plays at the Metropolitan Opera House.
Parade, a dance with music by Erik Satie; The Tits of Tiresias, a libretto work by Guillaume Apollinaire and music by Francis Poulenc, and The boy and the spells, an opera with a libretto by Colette and music by Maurice Ravel made up these works.
David Hockney also designed sets for the play Turandot de Puccini in 1991 at the Chicago Lyric Opera and for the work of Richard Strauss, The Shadowless Woman in 1992, at the Royal Opera House in London.
Synesthesia and bright colors in response to musical stimuli are the principles on which he bases the design of his stage sets for operas and ballet, as well as their dimension.
The arrival of spring in Woldgate, East Yorkshire, in 2011, a work consisting of 52 parts, 51 drawings made with iPad and an oil painting on 32 canvases, can be considered as a development of David Hockney's scenic vision, since this immense work has a certain cinematographic quality.