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“... enormous queue of well-dressed men and women formed at Tate Britain on the opening night of the Hockney exhibition in early February. It inched forward, a few more guests at a time; at the back people craned their heads trying to work out the reason for the bottleneck – or gave up and went to get a drink in one of the galleries off the octagonal hall at ...”

“... his bare feet submerged in the pile of a white rug in Mr and Mrs Clark and Percy, the portrait by David Hockney that aspired to Gainsborough as a take on the aristocracy of London, c.1971, but owed more to Harpers & Queen. The fashion bubble of Sixties London was not quite the fourth dynasty or the historical watershed of the Crimean War. What was of ...”

“... From David Hockney’s Lord of Misrule to its repetition on the back of the jacket, this book is a bull shot, like the cocktail at the bar in Langan’s Brasserie. It consists of Langan’s self-portrait, written in the sleepless marches, to which the art critic Brian Sewell has contributed a memoir of friendship which will come as a pleasant surprise to readers more accustomed to his inspired Sowerberry in the columns of the Evening Standard ...”

“... In the paintings, everything about him is pulled down by the weight of his own flesh. David Hockney doesn’t look so much like himself as like Freud’s style looking like itself: he is jowlier, his hair is more sparse, his eyes are pained, his brow is heavier, his collar is askew, his mouth is parched, his skin is mottled. While the ...”

“... The vast David Hockney show at the Royal Academy (until 9 April) is deliberately overwhelming. What it most looks like is an overblown, hyped-up, hyperreal parody of the Royal Academy Summer Exhibition, that super-English annual gathering of the amateur art establishment, to which the buying public with large pocketbooks flock from the Home Counties and beyond ...”

“... qualified artist. What could I reasonably say to them? These were some of the memories stirred by Hockney and Spender’s book on their recent trip around the People’s Republic. It is lavishly illustrated and handsomely produced, and a large part of it given over to meetings with Chinese painters and poets. Yet it doesn’t contain a single reproduction of ...”

“... in modern eyes may lie in perceptual as well as in cultural embarrassment. A laconic note from David Hockney prefaces Paul Joyce’s conversations with him. It ends: ‘My photographer friends said it wasn’t really photography but painting. I’m not so sure, but I think that’s where I’d like to leave it.’ Whether it is ‘it’ the work or ...”

“... In November of the following year he alerted his readers to the absence, in the art of David Hockney, of ‘the spiritual quest at the heart of modernism’. Several years later, in June 1981, he gave warning that the stained canvases of Morris Louis, the leading member of the ‘Washington Colour School’, did not represent the breakthrough ...”

“... posters and catalogues for exhibitions of the work of Donald Judd, Patrick Heron, Richard Long and David Hockney. When Hockney drew a portrait of Glazebrook, he chose to represent him with Hollis’s 1970 catalogue in his lap. Christopher Wilson’s excellent Richard Hollis Designs for the Whitechapel, the final book ...”

“... David Hockney’s new study, Secret Knowledge, sets out a thesis with vast implications, both for the way we look at Old Master paintings and the way we think about painting’s relation to photography. The more attention you give the thesis, however, the more Hockney’s presentation starts to frustrate you ...”

“... gestures into the music they write. There is an analogy to this situation, which the painter, David Hockney, was able to identify in an autobiographical anecdote. When Hockney was at art school and in the company of students busily mimicking the Abstract Expressionism that was new at the time, he found ...”

“... bucolic sentimental past that never existed’ is less than fair to the popular imagination. David Hockney’s career has been a pleasure to watch. His subject-matter – places he has visited or lived in and people he had known – has been interesting and decorative. Through representations of these agreeable subjects he has explored ways of ...”

“... made a Royal Academician in 2005 but he has remained a quiet man of British art in comparison with David Hockney or R.B. Kitaj, his contemporaries at the Royal College of Art in the early 1960s. ‘Swan i’ (1964) The exhibition shows how decisively he transcends the well-worn term ‘postwar British artist’: Bowling is diasporic, resisting easy ...”

“... etching by Linda Karshan beside a drawing of a cigarette (‘This is not a cigarette’) by David Hockney, which not being by a woman, isn’t part of the official collection. The best galleries are the ones you can live and work ...”

“... excitedly as he reads – as he always used to. A still from Tacita Dean’s film portrait of David Hockney (2016) Dean clearly has an affinity with old men. Her exhibition at the National Portrait Gallery was full of them. She visits the elderly Michael Hamburger at his Suffolk farmhouse with her movie camera, zooming in on the wonky doorways, the ...”