Summarize this content to 2000 words in 6 paragraphs in Arabic It is a country for old men, the latest, brightest, riotously enjoyable, largest ever incarnation of Hockneyland, just opened at Paris\u2019s Fondation Louis Vuitton. Its president Bernard Arnault, 76, invited Hockney, 87, to fill the cloudscape museum designed by his friend Frank Gehry, 96, and curated by another friend, Norman Rosenthal, 80. The theme? Hockney has scrawled in pink across the building\u2019s facade \u201cDo remember, they can\u2019t cancel the spring\u201d. But the real subject is the cycle of life, nature\u2019s and Hockney\u2019s: this elegiac, flamboyant exhibition of Hockney-picked greatest hits is likely the last in his lifetime, his own distillation of one of the most beloved oeuvres in postwar art.David Hockney 25 features abundant renderings of the seasons in Yorkshire and Normandy made this century \u2014 best are the surrealist-pointillist magnified natural forms as explosive spurts of paint \u201cThe Big Hawthorn\u201d and \u201cMay Blossom on the Roman Road\u201d, and the beaming, simplified yellow\/magenta \u201cWinter Timber\u201d \u2014 but it is also a retrospective, unmissable as a roll call of 1960-90 icons.American freedom and Hollywood hues surge in \u201cA Bigger Splash\u201d and \u201cPacific Coast Highway and Santa Monica\u201d. Adolescence awakens to its own desirability in \u201cThe Room, Tarzana\u201d, afternoon light pouring on semi-nude Peter Schlesinger. Proven\u00e7al tristesse suffuses \u201cPortrait of an Artist (Pool with Two Figures)\u201d, Schlesinger surveying a swimmer in Hockney\u2019s translucent blue \u2014 at $90mn, the most expensive painting by a living artist at auction. The newest painting is \u201cPlay Within a Play Within a Play and Me with a Cigarette\u201d (2024-25), Hockney\u2019s head framed by a bare twisting tree as he sits, in tweed suit and round glasses, painting himself among sketchily notated daffodils and irises, spring\u2019s harbingers. This self-portrait looks back to \u201cPlay Within a Play\u201d (1963), depicting Hockney\u2019s jittery dealer John Kasmin throwing up his hands, trapped behind a sheet of Plexiglas nailed to a painting of totem figures and tapestries. It in turn connects to the marvellous early stage-set pictures which begin the show.Greeting you at the start are the uncanny pair \u201cThe First Marriage (A Marriage of Styles I)\u201d (1962), pinstriped husband accompanying wooden sculpture, and \u201cThe Second Marriage\u201d (1963), exceptionally borrowed from Melbourne: a shaped canvas boxing in a funereal bride, Egyptian mummy face, black stilettos, on a sofa with her realistically depicted suited husband, framed by a curtain. They herald the witty push-pull between artifice and crystalline realism that defines mature Hockney: effortlessly accessible, yet seriously engaging as a sophisticated creator of pictorial worlds.No expense or persuasion has been spared to bring to Paris key, far-flung pictures absent from Tate\u2019s 2017 retrospective. \u201cA Bigger Grand Canyon\u201d (1998), the 60-part cubist-derived multiple viewpoints immersing us in seven metres of glowing gold, crimson and vermilion, visits from Canberra: a gripping tension between painterliness and design, voluptuous colour improbably meeting modernism\u2019s geometric grid.Fresh to European audiences will be \u201cAdhesiveness\u201d from Fort Worth, two Dubuffet-inspired graffiti blocky figures in the 69 position; this and Oslo\u2019s \u201cTwo Men in a Shower\u201d are the most explicit examples of Hockney\u2019s daringly original 1960s odes to gay love, made when homosexuality was illegal in Britain.Hockney himself got on the phone to secure Lisbon\u2019s seldom loaned, pivotal \u201cRenaissance Head\u201d (1963): a deliberately crude response to a profile portrait by Pollaiuolo, painted with tremendous gestural freedom, yet drawn with linear precision. Its cool stylisation and ambiguity anticipate Hockney\u2019s laconic double portraits, both lesser-known surprises \u2014 \u201cHenry and Raymond\u201d, curator Henry Geldzahler and writer Raymond Foye in energetic conversation against a loose abstract ground \u2014 and celebrities.\u201cChristopher Isherwood and Don Bachardy\u201d, remote behind a table laid with phallic banana and corn cob, and textile designer Celia Birtwell and Ossie Clark languidly unhappy in the picture-perfect 1970s interior \u201cMr and Mrs Clark and Percy\u201d, are magnificent portraits of psychological distance, landmarks chronicling societal change, postwar affluence, style, individuality.Ascending the Vuitton, you re-encounter Birtwell, distinctive blonde curls, big blue eyes, soft features, Hockney\u2019s enduring muse and companion in fashion-as-pattern. \u201cCelia in Stripes\u201d and \u201cCelia in Black Dress\u201d hang in a gallery with the jaunty ink-jet portrait \u201cA Bigger Matelot, Keven Druez 1\u201d, depicting the nephew of Hockney\u2019s partner Jean-Pierre Goncalves de Lima and referencing Matisse\u2019s \u201cYoung Sailor\u201d. Such later works lack Hockney\u2019s 1960s-70s edgy brilliance, but their warmth and facility still please. His Birtwell embodies swinging London and graceful ageing. That is the bottom line: \u201cI make images. I\u2019ve made memorable images, quite a few. Most people haven\u2019t made any,\u201d Hockney says.The Vuitton\u2019s flow of monumental galleries plus compact spaces give Hockney the master of spectacle full scope without overwhelming smaller works. Opera resounds from the top floor installation of film renderings of his stage sets: the dynamically cross-hatched \u201cRake\u2019s Progress\u201d, the blue china \u201cLe Rossignol\u201d, \u201cTristan und Isolde\u201d\u2019s vast swaying ship. It is intoxicating and engrossing, but as potent are the intimate, unknown charcoal\/crayon portraits from 2018-19. Hockney\u2019s touch is light and sure as ever, sympathetic equally to teenage emerging identity \u2014 serious \u201cRufus Hale\u201d in opulent green armchair \u2014 and old age\u2019s stubborn resignation and interiority: Picasso\u2019s biographer John Richardson, 94, a massive slumping presence.Youth and age, memory and desire, time lost and regained, are the threads uniting a very diverse show; in the superb catalogue co-curator Suzanne Pag\u00e9 notes that if Hockney expresses the childlike wonder of The Little Prince, he is also a devotee of Proust.In \u201cFlight into Italy \u2014 Swiss Landscape\u201d (1962) Hockney lurches in the back of a car hurtling along a map-like Alpine route. That open road spirals past waterfalls in luscious Fauvish pigment, straight from the tube, in \u201cNichols Canyon\u201d (1980), and a juicy purple streak bounces down patchwork fields in \u201cGarrowby Hill\u201d (1998). California\u2019s wide vistas inform Yorkshire\u2019s then Normandy\u2019s, depicted from the home Hockney acquired there in 2019. When ill health forced him to relocate to London in 2023, Normandy became another remembered Eden, though he opens this series comically, with an animated iPad drawing of incessant rain.Lackadaisical or ironic titles \u2014 \u201cLots of Blossoms on Trees\u201d, \u201cSome Smaller Splashes\u201d \u2014 imply Hockney knows the Norman paintings and iPad sketches are faux-na\u00eff, easy codas to his life-long lucidly observed, ebulliently heightened realism. But still he remains in dialogue with French painting\u2019s supreme hedonists. \u201cGiverny by DH\u201d opens out Monet\u2019s pond into a diagram of curling and massed reflections of trees and clouds, lilies as yellow blots, recalling also Matisse\u2019s response to Giverny, the abstracting flattened \u201cGarden at Issy\u201d.And among Hockney\u2019s iPad animations are 12 panels depicting Normandy through the seasons, dawn to twilight, which unite finally into one sunburst image captioned and titled with a quotation from La Rochefoucauld, \u201cRemember You Cannot Look at the Sun or Death for Very Long\u201d. To August 31, fondationlouisvuitton.fr<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic It is a country for old men, the latest, brightest, riotously enjoyable, largest ever incarnation of Hockneyland, just opened at Paris\u2019s Fondation Louis Vuitton. Its president Bernard Arnault, 76, invited Hockney, 87, to fill the cloudscape museum designed by his friend Frank Gehry, 96,<\/p>\n","protected":false},"author":1,"featured_media":268021,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-268020","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/268020","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=268020"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/268020\/revisions"}],"predecessor-version":[{"id":268022,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/268020\/revisions\/268022"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/268021"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=268020"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=268020"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=268020"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}