At first glance, it may seem as though the viewer has been transported to the tropics. Lush shades stand out in a way that usually may only be found in a warm environment which is sustained daily by the sun and rain.

Hockney has created a Fauvist composition that delights the senses. The technique used to create this painting ensures that his choice of shade cannot be misinterpreted. Each hue remains fairly undiluted, reflecting the vivid scene that the painter sees both before him and in his mind’s eye.

Nichols Canyon is a real region. It exists in Hollywood Hills in Los Angeles County, California. It starts at Hollywood Blvd. on its south end and snakes its path north into the slopes underneath Mulholland Drive.

The environment created by Hockney on canvas is warm and welcoming. Nichols Canyon has a characteristic, year-round, spring-bolstered brook and waterfall more than 60′ high, and a few normal and man-made little waterfalls.

Over time, the Los Angeles way of life and scene have become distinctly essential elements of Hockney’s work. There have been other imperative changes in his work too. He began utilising acrylics as opposed to oil paint and he made expanding utilisation of photography for documenting and planning his landscapes.

Nichols Canyon was made in 1980. David Hockney is maybe the most vital English living craftsman today. The force of each splendid stroke of the brush requests consideration, bringing the eye to wander everywhere throughout the canvas.

Fauvism was the first of the cutting edge developments that prospered in France in the early twentieth century. Seemingly rebellious in their creation, the Fauve painters decided that Impressionism would not allow them to express themselves.

Their unconstrained, frequently subjective reaction to nature was communicated in strong, undisguised brushstrokes and high-keyed, dynamic hues. As Hockney did with Nichols Canyon, Fauvist painters are known for using pigments straight from the tube.

Henri Matisse and André Derain used unnaturalistic shading and striking brushstrokes in their compositions. When their work in the Fauvist style emerged in the late spring of 1905, witty pundit Louis Vauxcelles called the artists fauves or wild beasts because of the uncontrolled nature of their brushstrokes.