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Lot Essay
16.5.66, painted during what is considered the most pivotal period of John Hoyland’s career, demonstrates the artist’s exploration into form and expanses of vivid colour. In 1956, Hoyland visited the Modern Art in the United States exhibition at the Tate Gallery, where, for the first time, he encountered American abstract art. In the 1950s and 1960s, post-war Britain was enthralled by the ground-breaking work of artists such as De Kooning, Pollock and Rothko. In this atmosphere of Abstract Expressionist experimentation, Hoyland searched for his own individual artistic style.
The mid 1960s, when the present work was painted, proved to be an extremely important time for Hoyland. In 1964, he made his first visit to New York, at the invitation of Helen Frankenthaler, and while he was there, he met the critic Clement Greenberg. In New York, Hoyland was also exposed the work of Hans Hoffman whose translations of form, colour and space had a seminal impact on Hoyland’s artistic method. Similarly, Hoyland's discovery of acrylic paint, new to the market in 1963, facilitated elements of speed and versatility within the artist’s work. Having grown tired of the long drying time of oils, Hoyland was now able to implement a more instinctive use of colour.
In 16.5.66, the viewer is confronted with Hoyland’s intuitive and dynamic handling of the acrylic paint. The striking shades of red and green offset one another in a brilliantly assertive interplay between colour and shape.
‘The shapes and colours I paint and the significance I attach to them I cannot explain in any coherent way. The exploration of colour, mass, shape, is, I believe, a self-exploration constantly varied and changing in nature: a reality made tangible on the painted surface.'
-John Hoyland
The Hoyland Estate are currently preparing the forthcoming catalogue raisonné of the artist’s work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to The Hoyland Estate, c/o Christie's, Modern British Art Department, 8 King Street, London, SW1Y 6QT.
The mid 1960s, when the present work was painted, proved to be an extremely important time for Hoyland. In 1964, he made his first visit to New York, at the invitation of Helen Frankenthaler, and while he was there, he met the critic Clement Greenberg. In New York, Hoyland was also exposed the work of Hans Hoffman whose translations of form, colour and space had a seminal impact on Hoyland’s artistic method. Similarly, Hoyland's discovery of acrylic paint, new to the market in 1963, facilitated elements of speed and versatility within the artist’s work. Having grown tired of the long drying time of oils, Hoyland was now able to implement a more instinctive use of colour.
In 16.5.66, the viewer is confronted with Hoyland’s intuitive and dynamic handling of the acrylic paint. The striking shades of red and green offset one another in a brilliantly assertive interplay between colour and shape.
‘The shapes and colours I paint and the significance I attach to them I cannot explain in any coherent way. The exploration of colour, mass, shape, is, I believe, a self-exploration constantly varied and changing in nature: a reality made tangible on the painted surface.'
-John Hoyland
The Hoyland Estate are currently preparing the forthcoming catalogue raisonné of the artist’s work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to The Hoyland Estate, c/o Christie's, Modern British Art Department, 8 King Street, London, SW1Y 6QT.