In June 2025, the work of legendary British artist David Hockney once again graced the cover of The New Yorker, reaffirming his place not only as a master of modern art but also as a figure of enduring cultural relevance. The artwork chosen, Going Up Garrowby Hill (2000), is a radiant Yorkshire landscape full of undulating curves and rich, sunlit hues, and it’s a reminder of Hockney’s lifelong fascination with the English countryside.
At Andipa Editions, we are proud to offer a curated selection of David Hockney prints for sale, including iPad drawings and original works on paper. Hockney’s most recent New Yorker feature offers the perfect opportunity to revisit his influential career, and explore how his work continues to captivate collectors and critics alike.
The New Yorker cover for its 9 June 2025 issue features Going Up Garrowby Hill, a composition originally painted by Hockney in 2000 during his extended return to Yorkshire. This period marked a deeply personal chapter for the artist. He was visiting his ailing mother in Bridlington and found himself reconnecting with the region’s rolling hills, winding roads, and patchwork fields, a subject that would become central to his late-career landscapes. Hockney's bold colour choices and rhythmic lines elevate these scenes from mere observation to emotional memory. The road climbing Garrowby Hill doesn’t just lead upward; it leads inward, to a place of familiarity and love. The selection of this painting for The New Yorker cover speaks to its resonance not just as a British landscape, but as a universal symbol of nostalgia and vitality.
With retrospectives such as David Hockney 25 at the Fondation Louis Vuitton drawing global attention, and his work increasingly celebrated in both traditional and digital formats, The New Yorker’s choice underscores the artist’s enduring influence.
This is not Hockney’s first cover for The New Yorker - far from it. Over the last two decades, the magazine has featured several of his works, each highlighting a different facet of his multifaceted practice:
- April 23, 2018: The Road - a panoramic double-page cover inspired by 17th-century Dutch painter Meindert Hobbema. It’s a tribute to art history, reimagined through Hockney’s signature eye for light and composition.
- December 21, 2020: Hearth - a warm digital drawing created on an iPad, portraying a crackling fireplace. It exemplifies Hockney’s ability to merge new technology with timeless domestic intimacy.
- 2010–2011: A still-life of shoes - one of his earliest iPad covers, marking the artist’s digital turn that would define much of his output in the following decade.
These covers, all published by The New Yorker’s long-time art editor Françoise Mouly, celebrate Hockney’s consistency in experimentation and joy. They also underscore the commercial and critical interest in Hockney’s ongoing relevance. The New Yorker has long treated its covers as artworks in their own right, often wordless, open to interpretation, and perfectly pitched to the cultural moment. Hockney’s contributions blend perfectly into this tradition: his covers don’t shout- they sing.
From Polaroids and photocollage to iPads and immersive digital landscapes, David Hockney’s work bridges classical technique and technological progress. His iPad drawings, in particular, have become increasingly collectible in recent years. Their immediacy and colour saturation, coupled with the intimacy of the medium, offer something unique for collectors of modern British art. Each piece captures a distinct mood and season, and each is a reflection of Hockney’s deep attentiveness to light and form. Whether created in Yorkshire or California, his works are filled with optimism and a unique visual rhythm.
Hockney’s Going Up Garrowby Hill, now immortalised once again on The New Yorker cover, is a timely reminder of the joy, colour, and quiet innovation that define his career.
Contact Andipa Editions via sales@andipa.com or call +44 (0)20 7589 2371 for more information on our current Hockney prints available.
