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拍品專文
David Hockney has commented on the present work, 'it was painted just after I came back from New York in 1961. I remember buying in New York a magazine called One. It was a kind of literary homosexual magazine ... but it was one of the first very obvious gay things. It didn't have any pictures, or very few, and they weren't very sexy; and in it there were little stories. One was about Sam, a little transvestite who every night put on his little pink dress and took a little walk; he only did it at night. I thought it was an amusing story.
Stylistically the painting's influence is strongly Dubuffet. Dubuffet was, in these 1961 pictures, the strong visual influence. I think it was partly because he was the only French artist who was doing anything that was interesting at the time. I still think, looking back, although I am not as great a fan as I was, that he did some marvellous pictures in the fifties and sixties, certainly some of the best pictures done in France then ... it was his style of doing images, the kind of childish drawing that he used, that attracted me ... At the time I could draw figures quite well in an academic way. But that's not what I wanted in the paintings. And so I had to turn to something that was quite away from it, and I think that was the appeal of Dubuffet. Here was an opposite, a crude way. I also liked his work's similarity to children's art, which is like Egyptian art in that it's all the same. So I felt that using that kind of thing was using an anonymous style; and it occurred all the time in those pictures' (N. Stangos, op. cit., p. 67).
Stylistically the painting's influence is strongly Dubuffet. Dubuffet was, in these 1961 pictures, the strong visual influence. I think it was partly because he was the only French artist who was doing anything that was interesting at the time. I still think, looking back, although I am not as great a fan as I was, that he did some marvellous pictures in the fifties and sixties, certainly some of the best pictures done in France then ... it was his style of doing images, the kind of childish drawing that he used, that attracted me ... At the time I could draw figures quite well in an academic way. But that's not what I wanted in the paintings. And so I had to turn to something that was quite away from it, and I think that was the appeal of Dubuffet. Here was an opposite, a crude way. I also liked his work's similarity to children's art, which is like Egyptian art in that it's all the same. So I felt that using that kind of thing was using an anonymous style; and it occurred all the time in those pictures' (N. Stangos, op. cit., p. 67).