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ionship into the pictures. They are portraits of a beautiful, intelligent woman with whom the artist has achieved a "relaxed understanding" that permeates the pictures. Hockney, as a gay man, responds to her as an individual rather than as a sexual object" (Livingstone 157).

In the first drawing, Celia in a Black Dress with White Flowers (1972), the artist has employed a rather unusual arrangement of elements that seems, at first, to reduce the sit

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