when did david hockney die
Hockney attended the Bradford College of Art from 1953 to 1957. Then, because he was a conscientious objector to military service, he spent two years working in hospitals to fulfill his national service requirement. In 1959, he entered graduate school at the Royal College of Art in London alongside other young artists such as Peter Blake and Allen Jones, and he experimented with different forms, including abstract expressionism. He did well as a student, and his paintings won prizes and were purchased for private collections.
In addition to pools, Hockney painted the interiors and exteriors of California homes. In 1970, this led to the creation of his first “joiner,” an assemblage of Polaroid photos laid out in a grid. Although this medium would become one his claims to fame, he stumbled upon it by accident. While working on a painting of a Los Angeles living room, he took a series of photos for his own reference, and fixed them together so he could paint from the image. When he finished, however, he recognized the collage as an art form unto itself, and began to create more.
For many years after that, Hockney remained content painting and showcasing his work at various exhibits. His work had gained much esteem and attention all over the world. Critics instantly recognized the power of his art. Most of his paintings from the late sixties and early seventies, particularly Mr. and Mrs. Clark and Percy (1970-1971), adhered to the concept of naturalism — that is, representing things as they were actually seen. His interest in photography greatly advanced his skill in this area, but Hockney felt as though he depended on it too much from time to time. He liked using the photographs more for the study of light, rather than to aid his memory. For the most part, Hockney was concerned with finding a balance between pure skill and pure art in his idea of naturalism. He did want his art to seem overtly academic, but moreover, he had not satisfied his abstract tendencies.
In February of 1974, Jack Hazan finished a biographical film on Hockney’s life. At first, Hockney was shocked and devastated by the film, which had brought many issues that hit too close to home for him. In particular, he was disturbed by the film’s portrayal of his romantic relationship with Schlesinger. However, after the film had received some attention and praise, Hockney realized that he had to swallow his pride and sign for its release in order to give Hazan the respect and admiration he deserved. The film was banned in many countries for its explicit portrayal of homosexuality, but won many awards among the critics.
The 1990s constituted a very productive period for Hockney, with a huge number of retrospectives and exhibitions around the world. In 1991, he began a relationship with John Fitzherbert, a former chef, which lasted for the next 25 years. One of his most important large-scale works, A Closer Grand Canyon, was completed in 1998. From 2000-01 he researched and wrote a book about the Old Masters, developing a theory that these artists made use of the camera far earlier than previously thought. For his research, Hockney assembled photocopies of Old Master paintings, from Byzantine Art to Van Gogh, on a huge wall in his LA studio. While Hockney’s theory met with significant resistance, it has gained widespread support from the art history community. In 2002, Hockney moved to the Yorkshire seaside town of Bridlington. In the same year, he sat for 120 hours for a portrait painted by Lucian Freud. In return, Freud sat for four hours for him.
Hockney had a stroke in 2012, which for a while impaired his speech. Much to his relief, “the stroke didn’t affect my drawing, and that’s the most important thing.” Only a few months later, one of his assistants, Dominic Elliot, died in Hockney’s home. He had taken cocaine and ecstasy and drank a bottle of drain cleaner. Elliot had been in a relationship with Hockney’s former partner John Fitzherbert, who was still living with him. At the high-profile inquest, Hockney was required to give evidence that the death was not a murder.
He studied at the Bradford College of Art (1953–57) and the Royal College of Art, London (1959–62), where he received a gold medal in the graduate competition. He visited the United States in 1961 and returned in 1964–67 to teach at the universities of Iowa, Colorado, and California and thereafter commuted between England and the United States until settling permanently in Los Angeles in 1978. That city’s intense glaring light and sleek “California modern” aesthetic had a pronounced influence on his work.
After experimenting with abstract landscapes during the 1990s, Hockney considered the representation of space in a series of multi-paneled works during the early 21st century. He also pursued his long-standing interest in new technologies. Among the many large-scale pieces featured in the traveling exhibition “David Hockney: A Bigger Picture” (2012–14; “David Hockney: A Bigger Exhibition” at the de Young Museum in San Francisco) were several compelling drawings done on an iPad. A traveling retrospective that opened at Tate Britain in 2017 attested to Hockney’s enduring popularity when it became the most-visited exhibition at that venue. The following year Portrait of an Artist (Pool with Two Figures), one of Hockney’s most well-known paintings, sold at auction for some $90 million, breaking the record for a living artist and cementing his place in the art history canon.
Hockney experimented with printmaking as early as a lithograph Self-Portrait in 1954, and worked in etchings during his time at RCA.  In 1965, the print workshop Gemini G.E.L. approached him to create a series of lithographs with a Los Angeles theme. Hockney responded by creating The Hollywood Collection, a series of lithographs recreating the art collection of a Hollywood star, each piece depicting an imagined work of art within a frame. Hockney went on to produce many other portfolios with Gemini G.E.L. including Friends, The Weather Series, and Some New Prints.  During the 1960s he produced several series of prints he thought of as ‘graphic tales’, including A Rake’s Progress (1961–63)  after Hogarth, Illustrations for Fourteen Poems from C.P. Cavafy (1966)  and Illustrations for Six Fairy Tales from the Brothers Grimm (1969).  
He holds a California Medical Marijuana Verification Card, which enables him to buy cannabis for medical purposes. He has used hearing aids since 1979, but realised he was going deaf long before that.  He keeps fit by spending half an hour in the swimming pool each morning,  and can stand for six hours at the easel.