This article explores the montage-style artworks created by Virginia Woolf and David Hockney, and attempts to understand each of their perspectives and visions that lie beyond the surfaces of the texts. Although Woolf and Hockney belong  to  different  time  periods,  they  share  the  extraordinary  qualities  as aesthetes who consider beauty and pleasure to be the highest value for art and life. Woolf and Hockney did not lose their passion for observing and exploring beautiful things in the world, even in the midst of various historical events such  as World War  I/II  and  the 9/11  terrorist  attacks.  This admiration for beauty  led  them  to  the  creation  of  montage  artworks.  Woolf  invented montage-style novels through interacting with modernist artists during the early 20th  century.  Meanwhile,  Hockney  has  adopted  innovative  montage  styles through using digital mediums: he began creating photo montages in the early 1980s by assembling multiple Polaroid photos or prints into a single composite image,  and   later   introduced   another   form  of  montage  works   such   as multi-canvas paintings, which  consist of multiple canvases arranged side by side, creating a unified image across the separate panels. The focus of this paper falls on examining the relationship between the montage forms and their artistic purposes. It also investigates the specific ways in which they developed the montage styles: while Woolf began her montage experiments with  very short fictions like “Blue & Green” in the early 1920s and showed an expanded form  of  montage narrative in  the 1930s,  Hockney  shifted the  focus of  his montage work from photo montage to multi-canvas paintings in wanting to make larger-scale works. Through the present discussion, this study demonstrates that the aesthetic styles of the two artists reflect their pursuit of beauty and extraordinary yearning for the expression of the beautiful.