DAVID HOCKNEY OM CH RA (BRITISH B.1937)
Tyler Dining Room [MCA Tokyo 261]
1984
signed, dated and inscribed A. P XIII/XVIII in pencil
one of 18 artist’s proofs aside from the edition of 98
lithograph in colours on TGL Handmade wove
from the Moving Focus series
published by Tyler Graphics Ltd.
sheet 80 x 101cm
framed
ARR

Provenance: Acquired by the present owner from their father, circa 2009

Reference: see Tate, London, accession number P20122 for another example of this edition

Literature: David Hockney: Prints 1954-1995, Museum of Contemporary Art Tokyo, 1996

Note: David Hockney’s engagement with printmaking began as early as 1954, evidenced by a lithographic self-portrait produced during his teenage years. His studies at the Royal College of Art saw a pronounced focus on printmaking where he experimented with etching, screenprinting and lithography. In 1964, Hockney relocated to California, where he met master printer Kenneth Tyler. Tyler’s technical expertise enabled Hockney to embark on the ambitious "Moving Focus" series.

Published in 1984, the "Moving Focus" series is considered to be Hockney’s most expansive and innovative series of prints. The artist explores perspective and the intricate construction of spaces, paying homage to Picasso and Cubism. The series features reconfigured and abstract bodies, layered forms, and conflicting viewpoints. Comprising 29 prints, the series spans intimate portraits of loved ones to complex depictions of interior scenes. A recurring motif in the series is the chair, often overlooked as a mundane object, Hockney uses them to anchor sitters and guide the viewer’s narrative perspective. These chairs also highlight Hockney’s distinctive line work, skilfully capturing fabric textures and the dual nature of both rigid and pliable materials. The vibrant use of colour draws viewers into fantastical scenes where vivid pinks, hot reds, and electric greens dominate the composition, enhancing the real life settings.

"Tyler Dining Room" exemplifies Hockney’s experimental approach to perspective, accommodating multiple viewpoints within a single image. Set in Kenneth Tyler’s home, the print offers an intimate glimpse into the personal and professional relationship between Hockney and his collaborator. The reversed perspective in this piece is notable, with the far end of the table appearing largest and an oversized chandelier positioned prominently at the forefront. Around the warped table we see nine horseshoe chairs mismatched against the dinner settings for seven. The use of dark colours in the foreground adds depth, drawing the viewer’s sense of space downward beneath the print's edges. The melting walls lead the viewer’s gaze centrally into the room, creating a dynamic interplay of perspective and vibrant colour that positions the viewer as an outsider being invited to peek into the private domestic sphere of the Tyler home.