CULTURE CLUB
CAMBRIDGE PHILHARMONIC 21 MAY, 7.30PM, WEST ROAD CONCERT HALL, £12 Join some of Cambridge’s musicians on a journey through frosty landscapes, in Libby Larsen’s Alaska Spring and Rachmaninoff’s Symphony No 2 .
COLOUR KING The unmistakable Hockney is renowned for his bright palette and remarkable presentation of texture and warmth, gloriously seen here in Grand Canyon I, 2017 (above) and Beach Umbrella, 1971 (below)
Hogarth, who were representing distinguished sitters and bluff merchants; drawings of flowers made with an iPad are displayed in one of the greatest galleries of flower paintings in the world. We also look at how Victorian artist Alfred Elmore’s way of painting shame resonates with Hockney’s image over a century later, and how Monet and Hockney captured a light-filled Normandy in spring,” says Jane Munro, keeper of paintings, drawings and prints and co-curator of Hockney’s Eye . Elsewhere in the exhibition, Hockney’s approach to viewpoint comes to light, in the comparison of his reinterpretation of Fra Angelico’s Annunciation with two pieces by Domenico Veneziano – a contemporary of Angelico. In an innovative twist, computer vision has been used to show the actual spaces created by Veneziano in his paintings using linear perspective – revealing some surprises – and demonstrating how Hockney’s use of reverse perspective offers a more fluid approach to the depiction of space. Another important aspect of Hockney’s perception of art history is his fascination with optical devices such as the camera obscura and camera lucida – as explored in his famous book, Secret Knowledge (2001). Hockney believes that many of the great draughtsmen of the past, such as Jean-Auguste-Dominique Ingres, utilised these optical instruments to aid them in creating highly realistic drawings. This idea initially horrified art historians, but seemed entirely natural to Hockney. For him, using an optical device is no different from picking up a pencil – they are all tools in the same toolkit; it’s how they are used that matters. There will be the chance to see several of these optical devices at the FitzwilliamMuseum, as well as drawings of Sir Ian McKellen, Damien Hirst and Martin Kemp – one of the exhibition’s curators – created using a camera lucida.
RED ROOSTER FESTIVAL 2-4 JUNE, EUSTON HALL, SUFFOLK, TICKET PRICES VARY Save the date for a wholesome weekend of soul, rock ‘n’ roll, blues and country music. New to the festival this year is the Red Roaster BBQ pit arena.
For Prerona Prasad, curator of the Heong Gallery – where the rest of the exhibition takes place – it is Hockney’s open and inquisitive approach to the use of technical instruments in art that makes him such an inspiring artist to observe. “For our community of students, we hope to demonstrate that disciplinary boundaries between humanities and sciences are porous; that the world and its challenges look very different depending on where you stand in relation to them. We hope they learn to look at the world through Hockney’s eye and discover the joy in truly seeing,” explains Prerona. Hockney’s Eye offers the unique opportunity to experience the works of David Hockney in the context of the great artists that have preceded and inspired his work. The exhibition is open now until 29 August, with free admission for all.
SARA PASCOE 3 MARCH 2023, 7.30PM, CAMBRIDGE CORN EXCHANGE, £18-27 Author of Sex Power Money and award-winning comedian, Sara Pascoe is bringing her feisty, wry wit to Cambridge next year with Success Story .
CAMBSEDITION.CO.UK APR I L 2022 17
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