PATRICK HAYMAN (1915-1988)
The Holy Family 1963
oil on board
signed; signed, inscribed with title, and dated on the reverse
20 x 16 ins (50.8 x 40.6 cm)
Helen Lessore’s Beaux-Arts Gallery
The paintings of Patrick Hayman play a game with time, but not in the abstract. They are small paintings but they bulge with intent. They have the kind of organisation which can be seen at a garden fete or a party to celebrate an execution or the loss of a ship over the horizon or for Adam or Nelson. Alone in a corner an Angel is eating her trumpet – Peter Lanyon, Sail Loft Gallery, June 1962
Born in London, Hayman emigrated to New Zealand in 1936, at the age of 19: there he took up painting, and attended Dunedin School of Art. He was involved with the group of young artists who developed New Zealand’s first modern movement. Returning to Britain in 1947, he split his time between London and Cornwall, living on and off in St. Ives, where he discovered the work of the ‘primitive’ Alfred Wallis: like him, Hayman often painted on driftwood and found objects. He became part of the burgeoning post-war art scene in Cornwall, remaining in touch with many other artists, in particular Peter Lanyon. From 1958-1963 he edited The Painter and Sculptor, a quarterly magazine of the arts that promoted figurative art. He exhibited widely in the UK, New Zealand and Canada: he was shown frequently by leading London galleries, such as Crane Kalman and Belgrave Gallery. Retrospectives were held in 1990 at Camden Arts Centre and in 2005 at Belgrave Gallery, the latter to coincide with the monograph by Mel Gooding. His work is held in many national collections including Tate, Arts Council, National Museums Scotland, and Ben Uri Gallery.