When the paintings of David Hokni, which were fresh, met with the classical university in the period of the renaissance of art, he would be better prepared. At the Fitz Williams Museum, Cambridge University, England, the exhibit “Hokney: the art and technology depicted” engaged in a more than 500-year dialogue and attempted to explore the ideas and theories of Hokni on technologies such as visual and video portrayers. In the view of the Guardian’s commentator, Joanson Jones (Jonathan Jones), the paintings in Hokni left those classical chores out of colour, and the exhibit, like a book under his note, would give rise to new ways of viewing the arts.

As I know, David Hockney never applied for a colour-coded patent. But we will say that “Hokni Blue” and “Hokni Red”, in fact, Hokni has a set of fine-tuns belonging to himself. This is particularly evident at the Fitz Williams Museum (Fitzwilliam Museum) under his occupation. This museum has one of the best classical British master’s books. These classical university rivals. In the 15th century, in the wake of the newspaper Notre Dame (Annunciation) of Domenico Venezian, the Month of Hokni is hailing to her, with a strong, nearly fainting slide on her body, on the ostensible gallery of her grandmothers, brilliant and blue shadows, and on the yellow floor with radio naked earthlines.

Dominican Republic

No.

The renaissance of the artefacts was “transmitted”. But it will never be said. He competed with 500-year-old artists in a very close and friendly manner, as was the case with the Royal College of Arts, which was co-located with Veneziano, not Alan Jones (Allen Jones) and R. B. Keitayi (RB Kitaj). When he painted his own art in 2017 for the renaissance of the Notre Dame, what Hokni wanted? He had experimented with the dialectic, which had led to a computer-based analysis of violations of single-point dialects in Weniziano, thus highlighting the Hokni experiment. Thus, while drawing on the enthusiastic contagion of the Honi, the exhibit will guide you in thinking about Western art in the search for a realistic depth of the world.

However, it is not considered a good idea. He believed that misunderstanding was a limited observation. The exhibit was held at the Fitz Williams Museum, Cambridge University, and in the galleries of the Downing College (Heong Gallery in Downing College), the main exhibit. A film produced by Hokni was shown on his most loving Chinese axis, which was launched, showing a poetry vision on the Grand Canal and the world around him. How can the art resurface that ambitious picture? Hokni has done well. At the end of the landscape of the Dutch golden era, the landscape of Medent Hobbema (Meindert Hobbema) showed his so-called “anti-refouling” in six paintings, with the road running between the two topest trees, the remote space was not reduced but extended outside. They are also colours: agricultural lands that are fuelled, agricultural lands that are greened by grandmothers. In this enumeration, you are able to view the history of the arts more clearly.

David Hokni 2017

The exhibit is a well-structured, simplistic and dreadful book in Hokni. You need not agree with his doctrine, nor can you find that they have opened up the way you watch the art. An exhibition hall displayed his claim in the Confidential Knowledge (Secret Knowledge) book that the magic and accurate pictures produced by Angel in the nineteenth century were used by filmmakers (camera lucida). We will see the real case of technological innovation in optical science under this industrial revolution, the painting by Angel himself, and Damien Hirst (Damien Hirst), Ian McKieren (McKellen) and Alain Bennett (Alan Bennett) under the self-imputing picture. The skirmishes of Hokni have a skilful life.

Recent self-imposed images of Hokni

12-Simitation of Angel Shaw (in part), David Hokni, 1999-2000

Sometimes, it seems even less equitable. The brightness of the Holkni will leave the classical university to lose. At the end of a Jok county picture in Hokni, the landscape of Hippst in Cesper fell into a wet pap. It needs to be reiterated that this is not deliberate. In a room filled with Dutch flowers, the past dialogue with the present was perfectly structured. On the central screen of the Office, a flower animated by iPad painted in Hokni has been shown, and a patchwork has been lost. You can see the fragility and variability of the flowers depicted by Hokni, moving to the near-distance view of the Dutch paints and to the screaming and cows on the lucrative gold.

On 17 April 2020, iPad drawing, David Hokni

Despite the humility of the trades and craftsmen and the disrespect for artists for “secret knowledge”, the exhibit will eventually pay tribute to the hearts and minds of the Honi. You began to be wonder whether he was a living “classical master”. It is not all that goes to the embarrassment of vision and machinery. Between the head of the museum, Hokney was flying the spring park (Le Parc des Sources, Vichy) in 1970. The two men stand against us and sit. Long-term waves are scattered over their dress, spreading the age of the kin.

Spring Water Park (Le Parc des Sources, Vichy), David Hokni

They were in a state of repair