“Hockney? He has immortalised me”
—Celia Birtwell
Celia in a Wicker Chair (1974) is one of the numerous artworks that David Hockney has created depicting his close friend and muse, Celia Birtwell. Hockney has been inspired by Birtwell for over half a century, capturing the myriads of her likeness and personality over time. In this lithograph, Birtwell’s facial features are gently accentuated, partially obscured by the cascading curls of her hair. Her skin is paper-white, but Hockney adds vibrancy to his sitter by skilfully rendering her piercing blue eyes. Boldly outlined, they stare directly out at the viewer in a compelling and engaging manner. Nonetheless, it is Celia’s boldly patterned and brightly coloured dress that takes centre stage in this lithograph. Rather than aiming to exactly replicate his model’s likeness, Hockney instead seeks to portray other characteristics which more aptly capture the essence of his sitter. In this instance, he focuses on her love of pattern, for which Celia Birtwell is most well-known.
“I always try to dress up for him”
—Celia Birtwell
Like Hockney, Birtwell was born in the North of England, and she moved to London to pursue her creative passions. She married Raymond ‘Ossie’ Clark, a fashion designer, in 1969 with David Hockney in attendance as Ossie’s best man. Birtwell had studied textile design, and she collaborated with Clark on many projects. Through their patterned silks and chiffons, they helped define the aesthetic of the Swinging Sixties. In Celia in a Wicker Chair, Hockney uses her vibrant dress as a device through which to convey her personality, creativity, and occupation.