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Obituary

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David Hockney (1937–2026)

‘The space between where I end and you begin, is the most interesting space of all’ – David Hockney. Read the full T&H tribute to Hockney.

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Obituary

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David Hockney (1937–2026)

‘The space between where I end and you begin, is the most interesting space of all’ – David Hockney. Read the full T&H tribute to Hockney.

Read

Bacon Disfigured

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Bacon Disfigured

Ben Ware

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Harry Gruyaert: New York

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Harry Gruyaert: New York

Cédric Klapisch

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Ralph Lauren Catwalk (Catwalk)

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Ralph Lauren Catwalk (Catwalk)

Bridget Foley

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The Wyvern Collection (The Wyvern Collection)

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The Wyvern Collection (The Wyvern Collection)

Marco Aimone,

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Cut Out (V&A)

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Cut Out (V&A)

Fiona Rogers

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Prophecies

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Prophecies

Christopher Dell

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Great Kingdoms of Africa

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Great Kingdoms of Africa

John Parker

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Drawing: Antony Gormley

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Drawing: Antony Gormley

Antony Gormley,

Jeanette Winterson,

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Queer Art (Art Essentials) (Art Essentials)

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Queer Art (Art Essentials) (Art Essentials)

Mollie E. Barnes,

Gemma Rolls-Bentley

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Miffy and the Impressionists (Miffy and the Artists series)

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Miffy and the Impressionists (Miffy and the Artists series)

Dick Bruna

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The Bow-Wow Ballet

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The Bow-Wow Ballet

Gabby Dawnay,

Jennifer Mae Spooner

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Photo Essay
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Hockney – Van Gogh: The Joy of Nature
Hockney - Van Gogh: The Joy of Nature presents unique insights into the influences and similarities behind the work of David Hockney and Van Gogh. For the first time, art lovers can study their pieces side by side. Take a look at a selection of art from the book.

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David Hockney

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David Hockney

Norman Rosenthal

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The World According to David Hockney (The World According To)

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The World According to David Hockney (The World According To)

David Hockney,

Martin Gayford

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Encounters with Artists

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Encounters with Artists

Richard Cork,

Cornelia Parker

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Spring Cannot be Cancelled

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Spring Cannot be Cancelled

Martin Gayford,

David Hockney

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A History of Pictures

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A History of Pictures

David Hockney,

Martin Gayford

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Modernists & Mavericks

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Modernists & Mavericks

Martin Gayford

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Hockney – Van Gogh: The Joy of Nature

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Hockney – Van Gogh: The Joy of Nature

Hans den Hartog Jager

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A History of Pictures for Children (A History of...)

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A History of Pictures for Children (A History of...)

David Hockney,

Martin Gayford

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David Hockney (World of Art)

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David Hockney (World of Art)

Marco Livingstone

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David Hockney: Current

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David Hockney: Current

Simon Maidment,

Li Bowen,

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A History of Pictures

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A History of Pictures

David Hockney,

Martin Gayford

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Art

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Thames & Hudson Children's
Equip the next generation to see the world through the eyes of an artist with our beautiful, award-winning children’s books.

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Photofile - Celebrating 50 Years

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Pocket Perspectives

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Catwalk

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Myths

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The Illustrators

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A History in Objects

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The World According to

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Art Essentials

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World of Art

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V&A: Artists in Focus

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Signed & Collector's Editions
Meet our most indulgent deluxe editions. Featuring sumptuous slipcases and exclusive signed copies, these collector’s editions are a cut above the rest.

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[IMG: Remembering David Hockney 9 July 1937 – 11 June 2026]

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David Hockney’s gift – to help us see the world with fresh eyes and a sense of joy – made him one of the most lauded artists of our time. The announcement of his death in London on 11 June at the age of 88 has resonated worldwide and is being recognized as a generational milestone in British and international art circles.
In the spring of 2025, the largest-ever exhibition of David Hockney’s work opened at the Fondation Louis Vuitton in Paris – a glorious sell-out show of some 400 works representing the artist’s entire career. In the landmark book to accompany the exhibition, produced by Hockney’s long-time publisher Thames & Hudson, Sir Simon Schama wrote, ‘[Hockney’s work] is admired – loved is not too strong a word – by the millions who flock to see it because it presupposes an expectation of pleasure.’
David Hockney was always an autobiographical artist. He knew how to tell the story of his life in pictures, so it was fitting that he should choose to publish his autobiography in words and images with a publisher of the visual arts. 
David Hockney by David Hockney: My Early Years, published by Thames & Hudson in 1976, was derived from twenty-five hours of recorded conversation between Hockney and his friend and editor Nikos Stangos. The book revealed Hockney’s thoughts on life and art and was an enormous success, both critically and commercially. The second volume of Hockney’s life story, That’s the Way I See It (Thames & Hudson, 1993), was a pronouncement of how an artist thinks, while also recording his anguish at the loss of many of his friends to AIDS – a moving reminder of the times. 
Thames & Hudson recognized and revealed Hockney’s natural ability to reach a wide audience who might not necessarily count themselves as art experts. For Hockney, books provided another opportunity to communicate art and ideas as widely as possible and sometimes to express himself with others: with Stephen Spender in China Diary (Thames & Hudson, 1982); and with living writers as stellar and varied as T.S. Eliot, Doris Lessing, Gore Vidal and others in Hockney’s Alphabet (Thames & Hudson, 1991). Hockney’s original thinking was revealed in Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters (Thames & Hudson, 2001), in which he investigated the use of optical devices by artists such as Van Eyck, Caravaggio and Vermeer; and again in the bestselling Hockney’s Pictures (Thames & Hudson, 2004), with Hockney’s own illuminating commentaries.   
Martin Gayford, art critic for The Spectator, the Sunday Telegraph and Bloomberg News, was Hockney’s conversation partner and co-author for A Bigger Message: Conversations with David Hockney (Thames & Hudson, 2011), unravelling the problems and paradoxes of representing a three-dimensional world on a flat surface; and for A History of Pictures: From the Cave to the Computer Screen (Thames & Hudson, 2016), exploring the connections between film, photography, painting and drawing – a book that was also turned into an inspiringly clear and simple children’s edition (Thames & Hudson, 2018).
Like Vincent van Gogh, Hockney shared a deep ardour for the changing seasons. In 2019 the Van Gogh Museum in Amsterdam opened Hockney–Van Gogh: The Joy of Nature (the catalogue published with the same title by Thames & Hudson), the first time the museum had dedicated its special exhibitions wing to a contemporary artist.  
In the spring of 2021, David Hockney and Martin Gayford collaborated again on Spring Cannot be Cancelled, published in defiant response to the Covid-19 pandemic. Their correspondence prompted Hockney to make the title’s life-affirming declaration of art’s capacity to divert and inspire, and present a hopeful vision of nature’s irrepressible beauty as he witnessed the arrival of spring at his home in Normandy, France. 
In March 2026, the Serpentine Gallery, London, brought Hockney’s celebrated panoramic frieze A Year in Normandie to London for the first time. Inspired by the Bayeux Tapestry, this monumental work captures the changing seasons in Normandy.
Few artists have had the ability to affect so many people deeply with words as well as with pictures: with his constant sense of curiosity and probing self-awareness, Hockney was indisputably one of these. His many books continue to give lasting inspiration to readers of all generations, keeping us attuned to the reasons why we create, draw or look, and urging us to see and celebrate the extraordinary beauty of our world. 
T&H won’t be the same without David.  We all loved working with him and his teams over so many decades - The Neurath Family
David Hockney was born in Bradford on 9 July 1937 and died in London on 11 June 2026.

News

Updated:
June 16 2026

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It has been since Roman times a commonplace to claim that the shepherd's life is better than the courtier's, the country purer than the town – Margaret Drabble in On the Romantics
What does it mean to stand before a vast mountain range, a raging sea or a sky darkened by storm clouds and feel both wonder and unease? This mixture of awe, beauty and terror – what the Romantics called the sublime – lay at the heart of one of the most influential artistic movements in European history.As industrialization transformed Britain and Europe in the late 18th century, Romantic artists turned away from the machinery of progress and towards emotion, imagination and the natural world. Their paintings captured everything from storm-tossed seas and rugged mountains to spiritual visions and revolutionary fervour, seeking to express experiences that seemed beyond the reach of reason alone. The result was a remarkable generation of painters whose work continues to shape how we think about nature, emotion and the power of art.
[H2] What is Romanticism?
Romanticism was a major artistic and literary movement that flourished across Europe and the Americas from the late 18th to the mid-19th century. Reacting against the rationalism of the Enlightenment and the rise of industrialisation, Romantic artists and writers embraced emotion, imagination and individuality, drawing inspiration from the sublime beauty and power of nature. The movement is often traced to the 1798 publication of Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge, whose poetry celebrated ordinary lives, rural landscapes and personal feeling.
The concept of nature was a great subject of discussion around 1800 – in philosophy, the sciences and the arts, which were intimately intertwined – Paul Ziche in Caspar David Friedrich
The ideals of Romanticism spread beyond literature and into the visual arts. Inspired by dramatic landscapes, political change, spirituality and the power of human emotion, Romantic painters sought to move beyond classical conventions and capture profound experiences of the world. Key figures included J. M. W. Turner, John Constable, Caspar David Friedrich, William Blake, Théodore Géricault and Eugène Delacroix, whose works helped define one of the most influential artistic movements of the 19th century.
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[H2] Caspar David Friedrich (1774–1840)
'Many look to Friedrich’s paintings for an experience of nature that only rarely presents itself in reality,’ writes art historian Johannes Grave in Caspar David Friedrich. For many, Friedrich is the quintessential German Romantic artist. Born in Greifswald, Germany, in 1774, but residing in Dresden for most of his life, Friedrich developed an entirely new form of painting for the time. Rather than conveying the natural world as it existed in reality, his paintings of rural Northern and Central Europe were supernatural in atmosphere: dreamlike worlds of fantasy.He often included solitary figures in his paintings, which positioned humans in a contemplative state amongst immense natural environments. In works such as Wanderer Above the Sea of Fog (c. 1817), The Monk by the Sea (1808–10) and Moonrise over the Sea (1821), figures appear dark and shrouded, inviting profound reflection on the relationship between humanity, the natural order and the threat of industrialization on the natural world.For more than half a century after his death, Friedrich’s work fell into relative obscurity, only attracting renewed attention after the Centenary Exhibition of German Art in Berlin in 1906. Today, his paintings remain remarkably relevant, as Johannes Grave and Markus Bertsch explore in Caspar David Friedrich. Their enduring appeal lies in Friedrich’s ability to transform landscape into a space for reflection, inviting viewers to consider humanity’s place within the natural world.

[H6] © SHK/ Hamburger Kunsthalle / bpk. Photo: Elke Walford. Caspar David Friedrich, Wanderer above the Sea of Fog, ca. 1817, oil on canvas, 94.8 × 74.8 cm, Hamburger Kunsthalle, on permanent loan from the Stiftung Hamburger Kunstsammlungen, acquired in 1970

[H2] J.M.W. Turner (1775–1851)
Among the leading figures of Romanticism, J.M.W. Turner stands apart for his depictions of light, atmosphere and the forces of nature. Best known for his dramatic seascapes and landscapes, he was fascinated by the changing effects of light and weather. In works such as The Fighting Temeraire (1838) and Snow Storm: Steam-Boat off a Harbour’s Mouth (1842), nature appears vast, unpredictable and often indifferent to human ambitions. As explored in Turner and the Sea, the artist's lifelong engagement with maritime subjects reflected Britain’s complex relationship with the sea during a period of shifting global order, technological innovation and expanding travel.Turner’s later paintings pushed representation to its limits. Their luminous veils of colour and dissolving forms baffled many contemporaries but are now recognized as some of the most innovative and expressionistic works of the 19th century. As Turner (World of Art) notes, these paintings anticipated later developments in abstraction, securing Turner’s reputation as one of the most influential artists in European art.

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The Junction of the Thames and the Medway, 1807, Oil on canvas, 108.8 x 143.7 (42 7/8 x 56 5/8). National Gallery of Art, Washington. Widener Collection

[H2] John Constable (1776–1837)
If Turner sought the sublime in nature’s drama, John Constable found it in tender recollection of the English countryside. Born in Suffolk in 1776, Constable returned repeatedly to the landscapes of his childhood, capturing everyday rural life with an unprecedented degree of naturalism. Works such as Ploughing Scene in Suffolk (A Summerland) (1814), The Rectory from East Bergholt House (1810) and Hadleigh Castle (1829) reveal his deep attachment to the landscapes of eastern England.As explored in Susan Owens’ Constable’s Year, Constable’s life and work were shaped by the turning of the seasons and the often-competing demands of the art world – from longing for Suffolk springs while in London preparing pictures for exhibition, to working through the shifting moods of weather, labour and landscape. His cloud studies, including A Cloud Study, Sunset and Cloud Study, 25 September 1821, reflect this sustained attention to the natural world, often recorded outdoors with careful notes on time, weather and atmosphere, as seen in Constable’s Skies.Though often regarded as a traditional painter, Constable was in many ways radical in his approach. His sketchbooks and paintings reject inherited conventions of landscape in favour of direct observation, shaped by what Owens describes as a “farmer’s eye” – an intimate understanding of land, labour and place. This sustained way of looking helped redefine landscape painting and influenced generations of artists, from the Barbizon School to the Impressionists.

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Hadleigh Castle, 1829. Oil on canvas, 122 x 164.5 cm (48 1/8 x 64 7/8 in). Yale Center for British Art

[H2] William Blake (1757–1827)
Poet, painter, printmaker and visionary, William Blake occupies a unique position within Romantic art. While many Romantic artists turned solely to the natural world, Blake, like Caspar David Friedrich, also explored the inner fantasy worlds of imagination and myth.Although he spent his entire life in London, Blake drew on his early experiences with religious visions, as well as sources as diverse as the Bible, Dante and Milton to create richly symbolic paintings and engravings. His contribution to Romanticism was shaped the images and poetry which made up his illuminated books, populated by prophets, angels and visionary figures.Despite his scepticism towards the natural world, Blake won the admiration of a younger generation of Romantic artists in the final decade of his life. As Kathleen Raine argues in William Blake (World of Art), Blake’s art was rooted in a profound spiritual vision that sought to reveal realities beyond the material world. The fierce energy and imaginative power of his work continue to inspire artists, writers and readers more than two centuries after his death.

[H6] William & Catherine Blake, John Bunyan Plate 8, Christian Fears the Fire from the Mountain

[H2] Théodore Géricault (1791–1824)
Théodore Géricault brought unprecedented emotional intensity to French painting. Though his career was tragically short, his influence on Romantic art was immense.His masterpiece, The Raft of the Medusa (1818–19), remains one of the defining works of the Romantic movement. Based on a contemporary political scandal, the painting depicts survivors of a shipwreck adrift at sea, suspended between hope and despair. Combining journalistic immediacy with monumental ambition, Géricault transformed a current event into a profound meditation on human suffering and endurance.The social dimension of Géricault's work has attracted renewed attention in recent decades. In Misère: The Visual Representation of Misery in the 19th Century, Linda Nochlin identifies his commitment to depicting society's marginalised and dispossessed figures as a significant contribution to 19th-century art. His willingness to confront difficult realities expanded the possibilities of history painting and paved the way for later Realist artists.

[H6] Théodore Géricault, The Raft of the Medusa (Museo del Louvre 1818–19)

[H2] Eugène Delacroix (1798–1863)
Where Géricault brought drama to contemporary events, Eugène Delacroix infused painting with revolutionary energy, vivid colour and emotional intensity. He became the leading figure of French Romanticism and one of the nineteenth century's most influential artists.His most celebrated work, Liberty Leading the People (1830), commemorates the July Revolution in France. At its centre stands Liberty, a powerful allegorical figure leading citizens across the barricades. The painting captures both the chaos of political upheaval and the enduring appeal of revolutionary ideals.Yet Delacroix was never simply an illustrator of events. As T. J. Clark argues in Those Passions: On Art and Politics, Liberty Leading the People derives much of its power from the complex relationship between politics, symbolism and artistic invention. Delacroix's bold handling of colour and movement profoundly influenced later generations, from the Impressionists to modernist painters.

[H6] Eugène Delacroix, ‘Liberty Guiding the People in 1830,’ 1830. 260 x 297 cm. Musée du Louvre, Paris (RF 129).
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[H2] The Enduring Legacy of Romantic Art
The enduring appeal of Romanticism lies in its questions that remain relevant today: how we relate to nature, how we understand our emotions, and how we find meaning in a changing world. The artists of the movement brought these concerns into their work through landscapes, historical subjects, personal visions and scenes of contemporary life, creating images that continue to speak to modern audiences.

Features

Updated:
June 11 2026

Margaret Drabble on the Romantics (Pocket Perspectives)

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Margaret Drabble on the Romantics (Pocket Perspectives)

Margaret Drabble

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Caspar David Friedrich

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Caspar David Friedrich

Markus Bertsch,

Johannes Grave

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Constable's Year

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Constable's Year

Susan Owens

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