David Hockney Dog Prints: Explore Hockneys Dog prints

  • Dog Wall: One Plate, 1998 by David Hockney

    Dog Wall: One Plate, 1998
    Etching on Somerset paper, edition of 35 (plus 10 artist's proofs)

    Sheet 425 x 570 mm

    ©David Hockney

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    David Hockney’s dog prints grew from his close observation of his two dachshunds, Stanley and Boodgie, who became recurring subjects in his work during the 1990s. Rather than treating the dogs simply as portraits, Hockney studied their changing positions, expressions and relationship with one another, often drawing and painting them while they slept or rested around his home. The resulting works are intimate and deliberately uncomplicated, reflecting Hockney’s longstanding interest in drawing directly from life and finding significance in familiar, everyday subjects.

     

    The best-known works include Hockney’s Dog Wall and related etchings and prints, which translate these observations into limited editions sought after by collectors. Across the series, Stanley and Boodgie appear curled together, stretched across cushions or viewed from different perspectives, allowing Hockney to explore line, composition and repetition through a highly personal subject. Although quieter than major landscape series such as Arrival of Spring or The Yosemite Suite, David Hockney’s dog prints occupy a distinctive place within his wider printmaking practice, combining technical simplicity with the warmth and immediacy of his relationship with the animals.

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  • Hockney's love of dogs:

    "I realised I was painting my best friends, Stanley and Boodgie. They sleep with me; I'm always with them here. " 

     

    - David Hockney

    Hockney’s fascination with dachshunds began through Heinz, the much-loved dog of his friend Ian Falconer. Captivated by the breed, Hockney chose Stanley in 1987, with Boodgie joining him two years later in 1989. The two dogs quickly became constant companions and recurring subjects in his work, appearing across paintings, drawings and prints throughout the following decade. Beyond his personal affection for Stanley and Boodgie, Hockney was interested in the distinctive elongated form of the dachshund, which offered an unusual subject through which to explore line, shape and composition. He frequently depicted the pair curled up asleep, resting together or observing their surroundings, using expressive lines and warm colours to capture subtle differences in their posture, character and mood. Through these intimate observations, Stanley and Boodgie became an important part of Hockney’s exploration of everyday life and the familiar subjects closest to him.