Snow was painted by David Hockney in 1973.

Where can I see Snow?

Snow is held by Victoria and Albert Museum.

Snow by David Hockney (1973) — Meaning & Museum

About this work

David Hockney made this print in 1973. It’s a simple image of snow falling on hills. Grey sky meets white ground in soft layers.

The print comes from a series inspired by Japanese art. Hockney worked with a master printer in California on this piece. Three brown shapes look like houses, but could be anything.

It’s held at the Victoria and Albert Museum.

Overview

Created in 1973, this print by David Hockney depicts a tranquil winter scene in which snow drifts over gently rolling hills beneath a muted grey sky. The composition is rendered in soft layers of white and gray, punctuated by three modest brown forms that suggest dwellings and provide a sense of scale.

Subject & Meaning

The image presents a quiet landscape where snow‑covered peaks recede into the distance, while a branch laden with snow is rendered simply on the right edge. The restrained palette and minimal detail convey a calm, contemplative atmosphere, inviting viewers to consider the subtle interplay of light, weather, and terrain.

Technique & Style

Executed as a print at Gemini GEL studio in California, Hockley collaborated with master printer Ken Tyler. The work reflects the influence of Japanese woodblock traditions, particularly in its flattened perspective, delicate gradations of tone, and the use of negative space to suggest depth and atmosphere.

History & Provenance

Hockney first visited California in 1964 and maintained a periodic presence there until relocating permanently in 1978. After an earlier collaboration on "A Hollywood Collection" (1965), he returned to Gemini GEL for the Weather Series, of which this print is a part. The piece is now part of the collection of the Victoria and Albert Museum in London.

Context

The Weather Series emerged from Hockney’s fascination with how weather is portrayed in Japanese prints, a motif he explored throughout the early 1970s. By integrating these aesthetic principles with his own modern sensibility, Hockney created a body of work that bridges Western printmaking techniques and Eastern visual conventions.