It is really a hedonist canvas every inch of its surface. Our eyes can't get away the winding road that seems to be moving by itself. The sense of movement is present in all the canvas as its dynamic composition suggests. The vibrant colors give life to the painting, and we feel a joyous vibration of optimism when we stare quietly at "Garrowby Hill" by David Hockney.
The blue curved street on the foreground goes happily deep into the background where we lose sight of it. There is a lonely pine tree at the left side of the foreground. On the other side there is a line of trees going along the road. The geometrical fields are intelligently placed. Green is the predominant color as it is the color of Nature. But coloring in this painting has a deliberate sense of humor, of sensuality, springing from a free-spirited soul. It is obvious that this is not a realist canvas as its coloring and its imagery are a product of the artist's imagination along a more interpretative line of painting.
David Hockney (Childs and Storry 256) was born in Bradford, Yorkshire, England, in 1937. He is a painter, draftsman, printmaker, photographer, and designer. He attended Bradford School of Art from 1953 to 1959. Later on he was an outstanding student at the Royal College of Art, where he studied from 1959 to 1962. At the beginning of his career, he used to do abstract painting, but after that period he endeavored himself in a more figurative kind of painting. In the sixties he was considered to be a pop artist. Chilvers gives the following account about it: "Hockney himself disliked the label 'Pop', but his work of this time makes many references to popular culture (notably in the use of graffiti-like lettering) and is often jokey in mood." (Chilvers 283). After his first solo exhibition in England in 1963, Hockney traveled to Los Angeles, United States, where he further established his permanent residency in 1976. Since the beginning of his career as an artist "Hockney has repeatedly demonstrated an insatiable curiosity for exploring new styles and mediums through a subjective collage-like approach actualized in his later post-cubist fascination with perspectival art, involving photo-collages, fax, photocopier and computerized images." (Childs and Storry 257).
Indeed Hockney has been very active and creative at the same time throughout his life. He is well known thanks to portraits, homoeroticism, swimming pools, mirrors, landscapes, and still-lifes. Childs and Storry state the following about the quality of his works: "Despite his Los Angeles residency. Hockney arguably remains the most acclaimed British artist alive, his work perhaps criticized for its stylistic hollowness but celebrated for its inventive, fearless artistic explorations of contradictory preoccupations." (Childs and Storry 257). On the other hand, Chilvers ponders his career in the following terms: "His phenomenal success has been based not only on the flair and versatility of his work, but also on his colourful personality, which has made him a recognizable figure even to people not particularly interested in art--so much so that a film about him, A Bigger Splash ( 1974), enjoyed some popularity in the commercial cinema." (Chilvers 282). The Concise Oxford Dictionary of Art and Artists considers the autobiographical