Analysis: Mr and Mrs Clark and Percy by David Hockney
When I think of David Hockney's line drawings, I then immediately think of Celia Birtwelll the textiles designer who became Hockney's long-term muse. Hockney has rendered her a variety of media across a number of decades, the most well-known being 'Mr and Mrs Clark and Percy' painted in 1970-71. Though I'm looking particularly at Hockney's style of line drawing, the underlying drawing is key to a good painting.
The painting features Birtwell and her then husband Ossie Clark, with one of their cats, Percy, on his lap. Both look out on to the audience marking out from the more traditional style where one subject would look at the other and the other would look out at the audience. This perspective makes it feel like the viewer is in the scene and infers in the relationship, mimicking Hockney's role in their lives as a close friend, and also as best man at their wedding in 1969. Though the scene is meant to resemble a living room, the actual painting was in their bedroom as Hockney preferred the lighting. This is enhanced by the large open windows at the center of the image acting as a focal point framed by the two figures.
Hockney found a technical problem, however with the light he had chosen as the lighting is behind the figures have to be lit as such. Contre-jour is difficult to work with as getting the right light balance is a trick and to work his way around this Hockney worked on it in his studio, setting up light conditions to mimic that of the Clarks' bedroom. He painted the lilies from still life in the studio which creates the detail and realism caught in the painting. Hockney had the Clarks pose many times and painted Ossie Clark's head like twelve times trying to get it just right.
The positioning of both figures is interesting. Ossie is slouched in the chair with his bare feet buried in a fur rug - because Hockney avoids drawing feet like the plague- he doesn't look comfortable despite many inferences that this pose is relaxed. His left shoulder is slightly up and his arm creates a physical barrier between the two of them as if turning away from Celia like there's some kind of argument or tension brewing between them. In turn Celia's expression doesn't look happy and though her body language is open to Ossie, her back, shoulders and arms are tensed. It almost looks as if the viewer has interrupted an argument, this may potentially foreshadow the gradual deterioration of their relationship and eventual divorce. Even the space, and open window, between them creates a sense that they are on two opposing sides, like that of an argument. The lilies could also support this as they carry connotations of death and may suggest the start of the death of the Clarks' relationship and marriage.
Or it may just be the sheer amount of time and energy spent into posing for Hockney. Other interpretations suggest this positioning is showing Ossie's more rebellious nature and even the cat sat on his lap suggests an independence and disregard for the rules. Celia on the other hand may be stretching or holding herself for support as she has her second child in 1971, the year of the paintings completion, though it is unclear if she is pregnant in this painting due to her loose dress. The lilies are closest to Celia and suggest femininity and beauty. It's these two qualities that Hockney captures so clearly in his drawings of her.
One of Hockney's etchings from his earlier series called 'A Rake's Progress' features on the wall and again shows the couple's connection and friendship with Hockney. And the style of phone shown marks the time period and era of the piece, further supported by the clothing which now looks dated and vintage. Though I like this piece, I can't see the happy couple a lot of people do and as such I think it's a sad piece that shows the deterioration of a marriage and not the joy of it.