{"id":667720,"date":"2026-06-15T09:30:00","date_gmt":"2026-06-15T07:30:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/david-hockney-what-to-expect-from-his-grand-retrospective-at-the-fondation-louis-vuitton\/"},"modified":"2026-06-15T10:17:15","modified_gmt":"2026-06-15T08:17:15","slug":"david-hockney-what-to-expect-from-his-grand-retrospective-at-the-fondation-louis-vuitton","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/art-en\/david-hockney-what-to-expect-from-his-grand-retrospective-at-the-fondation-louis-vuitton\/","title":{"rendered":"The day David Hockney took over the Fondation Louis Vuitton for his final show"},"content":{"rendered":"\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a369742c9c0e&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a369742c9c0e\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"842\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/04\/david-hockney-fondation-louis-vuitton-paris-exposition-retrospective-numero-8.jpg\" alt=\"\" class=\"wp-image-665724\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">David Hockney, Portrait of an Artist (Pool with Two Figures) (1972). Acrylic on canvas, 213.36 x 304.8 cm. \u00a9 David Hockney. Photo: Art Gallery of New South Wales \/ Jenni Carter.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">David Hockney&#8217;s exhibition at the Fondation Vuitton: A tribute to spring<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Reading <em data-start=\"687\" data-end=\"729\">Do Remember They Can\u2019t Cancel the Spring<\/em>, the subtitle of the exhibition <em><strong>David Hockney\u202f25<\/strong> <\/em>at the <strong><a href=\"https:\/\/numero.com\/en\/fashion\/louis-vuitton-retraces-the-history-of-its-emblematic-founder-in-a-book\/\">Fondation Louis Vuitton<\/a><\/strong> in Paris, I wondered what it could mean. As I tried to trace its origins, I recalled a 2020 iPad drawing (during Covid, as they say) bearing that very title. It had been sent by Hockney to a friend\u2014one of many such iPad drawings from that period. The following year, the delightful book <em data-start=\"1090\" data-end=\"1145\">Spring Cannot Be Canceled \u2013 David Hockney in Normandy<\/em>, co-authored with Martin Gayford, was published. It compiled conversations, correspondence, and previously unseen works.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I concluded that, yes, spring is the star of the subtitle, but the word \u201ccancel\u201d matters too. It unmistakably nods to cancel culture, which Hockney doesn\u2019t seem fond of\u2014any more than anything else that might curb what he sees as life\u2019s cardinal virtue: freedom. At least they can\u2019t \u201ccancel\u201d spring.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a369742ca143&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a369742ca143\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"834\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/04\/david-hockney-fondation-louis-vuitton-paris-exposition-retrospective-numero-6.jpg\" alt=\"\" class=\"wp-image-665722\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><p class=\"\" data-start=\"1568\" data-end=\"1712\">David Hockney, <em>Christopher Isherwood and Don Bachardy<\/em> (1968). Acrylic on canvas, 212.09 x 303.53 cm. \u00a9 David Hockney. Photo: Fabrice Gibert.<\/p><br><p class=\"\" data-start=\"1714\" data-end=\"2346\"><\/p><\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Photography, perspective and tobacco<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In 2009, the artist told <em data-start=\"1739\" data-end=\"1748\">Paradis<\/em> magazine that his three chief interests were \u201c<em>photography, perspective, and tobacco.<\/em>\u201d He chose to settle in France because, at least at the time, the country was more tolerant toward smokers. <em>\u201cI still smoke, and France is much more welcoming to smokers!\u201d<\/em> he said to <em data-start=\"2015\" data-end=\"2028\">Paris Match<\/em> in 2020. And indeed he does:<em> \u201cI\u2019ve been smoking for seventy years. I started at 16, I\u2019m now 86, and I\u2019m doing quite well. Thank you. I love tobacco, and I\u2019ll keep smoking until I drop. Like trees, we\u2019re all different<\/em>.<em> I\u2019m absolutely sure I\u2019ll die \u2014 whether it\u2019s tobacco-related or not,\u201d<\/em> he told <em data-start=\"2324\" data-end=\"2335\">The Times<\/em> last year.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When the Paris underground banned the exhibition\u2019s poster, the backlash was swift. The reason? The artwork\u2014<em data-start=\"2448\" data-end=\"2506\">Play Within a Play Within a Play and Me with a Cigarette<\/em>\u2014featured a&#8230; cigarette! Not even a painted one, but a photographed cigarette within the artwork. \u201c<em>The authoritarianism of those who govern our lives knows no bounds. Hearing a subway lawyer ban an image is bad enough<\/em>.<em> Distinguishing between a photo and a painting within that image is sheer madness,\u201d<\/em> <strong>Hockney<\/strong> told <em data-start=\"2826\" data-end=\"2843\">The Independent<\/em>.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a369742ca58c&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a369742ca58c\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1190\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/04\/david-hockney-fondation-louis-vuitton-paris-exposition-retrospective-numero-2.jpg\" alt=\"\" class=\"wp-image-665716\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><p class=\"\" data-start=\"2846\" data-end=\"2957\">David Hockney, A Bigger Splash (1967). Acrylic on canvas, 242.5 x 243.9 x 3 cm. \u00a9 David Hockney. Tate, U.K.<\/p><h3 class=\"\" data-start=\"2959\" data-end=\"3004\"><\/h3><\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">A monumental exhibition putting 400 works on display<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u201cThis censorship is incomprehensible,<\/em>\u201d said Norman Rosenthal, curator of the Paris exhibition and other iconic exhibitions ( <em>A\u202fNew Spirit in Painting<\/em>\u00a0(1981),\u00a0<em>Sensation<\/em> (1997)\u2026) and former ICA and Royal Academy heavyweight. \u201c<em>Paris is a city of liberty and revolution deeply rooted in its history\u2014this contradicts that entirely.\u201d<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Along with <strong>Suzanne Pag\u00e9<\/strong>\u2014and even Hockney himself\u2014they curated an exhibition with few limits, spread across the Fondation\u2019s eleven galleries. It pays homage to the artist\u2019s credo: <em>\u201cmaking pictures is a better pleasure than sex and drugs.\u201d<\/em> It includes more than 400 works spanning Hockney\u2019s career, and the first thing that strikes the viewer is the joyful layout\u2014even the vividly colored walls that host the masterpieces.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u201cI hate white walls behind paintings, they make you see the edges too much. When I helped hang the Summer Exhibition at the Royal Academy, the first thing I said was: \u2018Don\u2019t paint the walls white!\u2019\u201d<\/em> This was a major issue with the Pompidou\u2019s version of Hockney\u2019s retrospective in 2017, which marked his 80th birthday. Unlike the pastel-hued Tate version evoking California light, the Pompidou\u2019s white-walled version felt austere and unnecessarily conventional.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a369742caa8d&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a369742caa8d\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"450\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/04\/david-hockney-fondation-louis-vuitton-paris-exposition-retrospective-numero-5.jpg\" alt=\"\" class=\"wp-image-665720\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><p class=\"\" data-start=\"4136\" data-end=\"4356\">David Hockney, <em>Bigger Trees near Warter or\/ou Peinture sur le Motif pour le Nouvel Age Post-Photographique (2007)<\/em>. Oil on 50 canvases, 457.2 x 1219.2 cm. \u00a9 David Hockney. Photo: Prudence Cuming Associates. Tate, U.K.<\/p><h3 class=\"\" data-start=\"4358\" data-end=\"4412\"><\/h3><\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">From California to Normandy, David Hockney&#8217;s obsession for landscapes<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p class=\"\" data-start=\"4414\" data-end=\"4826\">Hockney has had near-annual exhibitions in France: <em data-start=\"4465\" data-end=\"4477\">Normandism<\/em> at the <strong>Beaux-Arts museum<\/strong> in Rouen (2024), <em data-start=\"4495\" data-end=\"4515\">A Year in Normandy<\/em> at the<strong> Orangerie museum<\/strong> (2021), or the David Hockney exhibition at the <strong>Granet Museum<\/strong> in Aix (2023). This Fondation show stands out by focusing on the last 25 years\u2014the 21st century. Since painting again in 1962, Hockney has delved deeply into landscape, from the Yorkshire countryside (since 2005) to Normandy (since 2019), after leaving California.<\/p><br\/><p class=\"\" data-start=\"4828\" data-end=\"5262\"><\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p class=\"\" data-start=\"4828\" data-end=\"5262\">His landscape work, informed by <strong>Claude Monet<\/strong>\u2019s <em data-start=\"4868\" data-end=\"4884\">The Four Trees<\/em> (1891), uses tree trunks and branches as compositional devices for perspective, with flowers and buds offering rhythm and color. Paths, tunnels, and roads\u2014everything in Hockney\u2019s landscapes feels deliberately structured. As Suzanne Pag\u00e9 notes in the exhibition catalogue: <em>\u201cHockney has an extraordinary talent for capturing what he sees and inventing the right visual solution.\u201d<\/em><\/p><br\/><p class=\"\" data-start=\"5264\" data-end=\"5486\"><\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p class=\"\" data-start=\"5264\" data-end=\"5486\">Sometimes this means abandoning rectangles for hexagons or elaborate multi-panel formats like <em data-start=\"5358\" data-end=\"5409\">Tall Dutch Trees After Hobbema (Useful Knowledge)<\/em> (2017), a six-part homage to the 17th-century Dutch master Meindert Hobbema.<\/p><br\/><p class=\"\" data-start=\"5488\" data-end=\"5622\"><\/p><\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a369742caf8a&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a369742caf8a\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"804\" height=\"1200\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/04\/david-hockney-fondation-louis-vuitton-paris-exposition-retrospective-numero-3.jpg\" alt=\"\" class=\"wp-image-665718\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><p class=\"\" data-start=\"5488\" data-end=\"5622\">David Hockney, <em>After Blake: Less is Known than People Think<\/em> (2024). Acrylic on canvas. \u00a9 David Hockney. Photo: Jonathan Wilkinson.<\/p><h3 class=\"\" data-start=\"5624\" data-end=\"5673\"><\/h3><\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Imposing canvases and masterpieces<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u201cFor 25 years, I never saw spring or summer in California\u2014it was always the same weather,\u201d<\/em> says<strong> David Hockney<\/strong>, whose return to Europe gave him new seasons to paint. His <em data-start=\"5838\" data-end=\"5864\">Bigger Trees Near Warter<\/em> quartet (2008)\u2014<em data-start=\"5880\" data-end=\"5888\">Summer<\/em>, <em data-start=\"5890\" data-end=\"5898\">Spring<\/em>, <em data-start=\"5900\" data-end=\"5908\">Winter<\/em>, and <em data-start=\"5914\" data-end=\"5920\">Fall<\/em>\u2014shows the same view in four seasonal states. Each one can be read as abstract or figurative, with Hockney effortlessly blending both.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It takes guts to stand before the stunning <em data-start=\"6099\" data-end=\"6181\">Bigger Trees Near Water or Painting from Life for the New Post-Photographic Age<\/em> (2007), over 12 meters long and 4.6 meters high, composed of 50 canvases with multiple perspectives that seem to swallow the viewer whole. These European landscapes are juxtaposed with his American ones, and the palette variations are immediately apparent: no blue or pink period, just a vivid response to the sun and its natural effects.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The exhibition begins with his masterpieces from 1962 to 1980\u2014<em data-start=\"6584\" data-end=\"6601\">A Bigger Splash<\/em> (1967), <em data-start=\"6610\" data-end=\"6657\">Portrait of an Artist (Pool with Two Figures)<\/em> (1972), and even the first portrait he ever painted, of his father in 1955. It\u2019s a truly exceptional exhibition, imbued with freedom and generosity\u2014of the 400 works, there\u2019s hardly one that feels superfluous. It\u2019s a celebration of a magnificent way of being in the world. Hockney reminds us: <em>\u201cDeath awaits us all\u2014even if you don\u2019t smoke.\u201d<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>David Hockney&#8217;s exhibition at the Fondation Vuitton: A tribute to spring Reading Do Remember They [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/numero.com\/en\/art-design\/art-en\/david-hockney-what-to-expect-from-his-grand-retrospective-at-the-fondation-louis-vuitton\/\">Read More&#8230;<span class=\"screen-reader-text\"> from The day David Hockney took over the Fondation Louis Vuitton for his final 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