Lyndsey Ingram presents this group of prints by David Hockney, which is the third in the gallery’s series of virtual exhibitions this spring. This selection of work was originally intended for the London Original Print Fair, but as the current global circumstances have unfolded, it has been adapted to be viewed online.

Hockney has been a committed printmaker throughout his long and distinguished career, which now spans over 60 years. He first flirted with lithography in 1954 and began making prints in earnest when he discovered etching in 1961, while studying at the Royal College in London.

It comes as no surprise that Hockney has pursued printmaking with great enthusiasm; a keen willingness to explore and master new techniques has often defined his work. From his first etchings at the Royal College, he soon moved on to lithography, screenprinting, paper pulp, colour photocopying, most recently discovering the possibilities of print making with an iPad.

The current exhibition focuses on his endeavors with two of the most traditional printmaking techniques – etching and lithography. The Illustrations for Fourteen Poems from C.P. Cavafy from 1966 is one of his earliest etching projects. The larger works from 1998, including Van Gogh Chair and Red Wire Plant, are his most recent etchings to date. One of Hockney’s greatest achievements in lithography are his Lithographic Water prints, a progression of swimming pool images made with master printer Ken Tyler. We are pleased to include Lithograph of Water Made of Lines, a Green Wash, and a Light Blue Wash (1978-80) here, one of the most vibrant and developed images from this iconic series.

Printmaking pursuits have always been closely aligned with Hockney’s wider practice and a survey of his graphic work provides a clear picture of his rich and dynamic career. Looking at these prints together, one can’t help but be impressed by Hockney’s ability to vary his approach, but consistently deliver a perfectly executed picture.