Artists and cultural figures have reflected on the career and influence of David Hockney following the death of the British painter at the age of 88, describing an artist whose work shaped perceptions of modern life, technology and visual expression.

The responses highlighted the breadth of Hockney’s career, from his celebrated depictions of swimming pools and landscapes to his experiments with drawing, digital tools and new ways of representing space. Several artists said his approach influenced generations by presenting art as an open process of observation and exploration.

Artist Rachel Whiteread recalled first encountering Hockney’s work as a child, alongside other major modern artists. She said a television programme about him in the 1970s shaped her early understanding of what an artist could be.

“I remember seeing a TV programme about David in the 1970s as a young kid and thinking ‘wow, is that what being an artist is like?’” she said.Whiteread said Hockney appeared different from many artists of his generation because of his public presence and his willingness to embrace visibility.

She described him as someone who made the life of an artist appear accessible and energetic.“He was charismatic and fashionable and very out and proud,” she said, adding that he made being an artist look enjoyable and engaging.She also pointed to Hockney’s paintings of swimming pools in Los Angeles as among the works that had a particular impact on her.

She said she often thinks about his treatment of water when she swims, noting the complexity of his handling of light, depth and movement.“I actually think about him every time I go swimming,” she said. “It always astounds me how he painted water, and figures within water.”The pool paintings, created during his periods in California, represented a major phase of Hockney’s career.

Whiteread described them as distinct from the atmosphere of London and praised the way they captured layered surfaces and changing environments.She also highlighted his drawings, particularly his use of line and composition, saying they demonstrated his technical ability and his continuing commitment to visual experimentation.“He just never stopped painting,” Whiteread said.

“It was like he was breathing art.”Artist Jeremy Deller said Hockney’s influence extended beyond traditional painting and included his engagement with technology and public projects. Deller described him as a role model who remained active and curious throughout his career.“He humanised technology in a way that few have managed,” Deller said.

He recalled working with Hockney on a banner titled “The Unrepentant Smokers” for a procession in Manchester in 2009. Deller said the reaction from an anti-smoking councillor, who objected to the work, amused Hockney.Deller also referred to Hockney’s later immersive exhibition work, saying it demonstrated the artist’s continued interest in combining visual art with new forms of presentation.

Artist Tacita Dean pointed to Hockney’s influence on approaches to drawing and spatial representation. She said his work challenged traditional ideas of how images create a sense of place.Dean described Hockney’s immersive drawings as a significant contribution to contemporary art, saying they showed how lines could move beyond simply describing objects and instead create a sense of space.

“He created these immersive drawings that you could almost step into,” she said.She added that Hockney’s importance would take time to fully assess, but said his willingness to keep experimenting remained one of the defining aspects of his career.The director of Turner Contemporary, Clarrie Wallis, said Hockney’s work had played a major role in shaping public understanding of visual culture.

She said few artists had contributed as significantly to changing how people perceive the world around them.Hockney’s career was marked by a constant interest in new ways of seeing, whether through traditional painting, photography, digital technology or large-scale installations. His work often examined ordinary subjects, including landscapes, interiors and everyday objects, while exploring how images are constructed and interpreted.

The reflections from fellow artists focused on this continuing search for new perspectives. They described an artist who remained engaged with changing technologies and artistic methods while maintaining a strong connection to observation and drawing.For many who worked alongside or followed his career, Hockney’s influence was not limited to specific works or periods but was connected to his broader approach to making art.

His legacy, they said, lies in the way he expanded ideas about what painting could include and how audiences could experience images.

A late 19th-century painting by Raja Ravi Varma has set a new benchmark for Indian art after it sold for ₹167.2 crore ($17.98 million) at an auction conducted by Saffronart, surpassing previous records in the modern Indian art segment.

The work, Yashoda and Krishna, was acquired by Cyrus S. Poonawalla, chairman and managing director of Serum Institute of India. The final sale price exceeded the auction house’s pre-sale estimate of ₹80–120 crore, reflecting sustained demand among collectors for historically significant Indian works.

Poonawalla described the purchase as both a privilege and a responsibility, stating that efforts would be made to ensure the painting is accessible for public viewing. His acquisition marks one of the highest-value private purchases of Indian art to date.

The sale eclipses the previous record held by M. F. Husain’s Untitled (Gram Yatra), which had fetched over ₹118 crore. Market participants said the new record signals a strengthening valuation environment for Indian masters, particularly works with strong cultural and historical associations.

Painted in the 1890s during the peak of Ravi Varma’s career, Yashoda and Krishna depicts a domestic scene rooted in Hindu mythology, portraying the child Krishna with his foster mother Yashoda. The composition reflects Varma’s distinctive approach of combining European oil painting techniques with Indian themes, a style that contributed to his enduring influence on visual culture in India.

Born in 1848 in Kilimanoor in present-day Kerala, Ravi Varma is widely regarded as a foundational figure in modern Indian art. His portrayals of mythological figures, including Shakuntala, Sita, Damayanti and Draupadi, have had a lasting impact on artistic representation and popular imagery.

Pooyam Thirunal Gouri Parvathi Bayi, a member of the erstwhile Travancore royal family and a descendant of the artist, said the sale reflects a reassessment of Ravi Varma’s legacy.

She noted that while the painter had faced criticism in parts of the 20th century, including being described as a “poster painter,” his work is now receiving broader recognition for its artistic and cultural significance.

“I am proud that my great-grandfather is getting the recognition he deserves,” she said, adding that the retention of the artwork within India was a positive outcome. She also highlighted his role in popularising elements of Indian attire and jewellery through his paintings, which contributed to shaping visual representations of cultural identity.

Bayi added that it remains to be seen how the new owner will facilitate public access to the painting, noting that visibility and engagement are key to sustaining appreciation for such works.

According to Saffronart, the sale demonstrates the continued depth of demand in the Indian art market, particularly for museum-quality works. Minal Vazirani, president and co-founder of the auction house, said the result reflects the enduring appeal of historically significant pieces.

“Great art has a way of reaffirming its timeless value,” she said, describing the sale as indicative of both market strength and cultural resonance.The trajectory of Yashoda and Krishna, from its creation in the late 19th century to its sale in a contemporary auction setting, illustrates shifts in the valuation and perception of Indian art over time.

Works by Ravi Varma, once reproduced widely through prints and calendars, have increasingly been re-evaluated within institutional and collector circles as foundational to India’s artistic heritage.

The auction outcome also highlights the growing role of high-net-worth individuals in shaping the Indian art market, particularly in the acquisition and preservation of culturally significant works.

Industry observers note that such purchases can influence both pricing benchmarks and the visibility of Indian art on the global stage.