David Hockney's Spring, My Tribute
- James Nicholls

- 2 hours ago
- 2 min read
Looking back on David Hockney's The Arrival of Spring, Normandy, what I remember most is not simply the exhibition itself, but the sense of optimism it brought at a time when the world was beginning to reopen.
In 2021, after months of lockdowns and isolation, simply walking into a gallery again felt special. There was a renewed appreciation for art, culture and the shared experience of seeing great works in person. It was during this period that I had the privilege of presenting a feature on Hockney's exhibition for The Art Review at the Royal Academy of Arts, here is the promo spot.
Created during the pandemic from his home in Normandy, Hockney's 116 iPad works captured the unfolding of spring with extraordinary energy, colour and hope. While some questioned the use of digital technology as a serious artistic medium, Hockney once again demonstrated his lifelong willingness to embrace innovation and challenge convention.
Yet beyond the discussion about technology, what resonated most was the message behind the work. At a time of uncertainty, Hockney's vibrant depictions of nature seemed to remind us that life continues, beauty endures and creativity flourishes even in the most difficult circumstances.
The exhibition was ultimately a triumph, not only because of the quality of the work, but because it arrived at precisely the right moment. For many visitors, it represented a celebration of renewal, resilience and the simple joy of reconnecting with art and with one another.
Today, looking back at the feature and the exhibition, I am reminded of David Hockney's remarkable contribution to art history. Throughout his career he has continually evolved, embraced new technologies and encouraged us to see the world differently.
This is my small personal tribute to a great artist whose optimism, curiosity and innovation continue to inspire generations.
What is your strongest memory of David Hockney and his work?
Best wishes
James
James Nicholls

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