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拍品專文
This rare etching dates from 1962, Hockney's final year at the Royal College of Art in London.
A large, muscular male nude dominates the picture. The figure bears little resemblance to Hockney himself and is almost certainly based upon an illustration in an American muscle magazine - a very similar source Hockney later used for the screenprint Cleanliness is Next to Godliness (see lots 33 and 34). Superimposed over the nude is a smaller, bespectacled figure with thin arms and legs wearing a vest. This witty and self-deprecating depiction of the 'desired self' versus the 'real self' is a riposte to the machismo cultivated by many high modernist painters. Hockney humourously focuses on his physical awkwardness and a young man's sense of self-doubt, while also alluding to his homosexuality. A theme central to his work from this period, the physical type embodied by the muscular boy and the floating classical torso are not only projections of the artist's ideal self but are also the objects of erotic desire, playfully alluded to by the suggestively positioned mount-cutter grasped by a delicately gloved hand. Hockney's face, recognisable at the lower left of the etching, gazes out at the viewer, emblazoned with the legend 'It is now 1962' on his forehead and cheek. His smile and the emphatic repetition of the date, suggest a young man's optimism and a heady sense of the liberation of the times, memorably described by Philip Larkin: 'Sexual intercourse began in 1963 (which was rather late for me) - between the end of the 'Chatterley'-ban and the Beatles' first LP. (Annus Mirabilis, 1967)
A large, muscular male nude dominates the picture. The figure bears little resemblance to Hockney himself and is almost certainly based upon an illustration in an American muscle magazine - a very similar source Hockney later used for the screenprint Cleanliness is Next to Godliness (see lots 33 and 34). Superimposed over the nude is a smaller, bespectacled figure with thin arms and legs wearing a vest. This witty and self-deprecating depiction of the 'desired self' versus the 'real self' is a riposte to the machismo cultivated by many high modernist painters. Hockney humourously focuses on his physical awkwardness and a young man's sense of self-doubt, while also alluding to his homosexuality. A theme central to his work from this period, the physical type embodied by the muscular boy and the floating classical torso are not only projections of the artist's ideal self but are also the objects of erotic desire, playfully alluded to by the suggestively positioned mount-cutter grasped by a delicately gloved hand. Hockney's face, recognisable at the lower left of the etching, gazes out at the viewer, emblazoned with the legend 'It is now 1962' on his forehead and cheek. His smile and the emphatic repetition of the date, suggest a young man's optimism and a heady sense of the liberation of the times, memorably described by Philip Larkin: 'Sexual intercourse began in 1963 (which was rather late for me) - between the end of the 'Chatterley'-ban and the Beatles' first LP. (Annus Mirabilis, 1967)