John Hoyland (1934 - 2011)

John Hoyland emerged as one of Britain's leading abstract painters in the 1960's. He exhibited in London, New York, Munich, Milan and Montreal. During the 1970's Hoyland worked in New York alongside abstract artists including Noland, Poons and Olitski.

Hoyland made the transition to abstract painting in his final years as a student at the Royal Academy. His Diploma presentation in 1960 consisted entirely of abstract paintings. The then President of the Royal Academy was shocked and ordered the paintings to be removed from the gallery walls. Fortunately, the Acting Keeper of the Schools defended Hoyland and ensured that he was awarded his Diploma. The art teacher and critic Maurice de Sausmarez discovered a pile of Hoyland's paintings in the basement corridor of the Royal Academy and was very impressed. He offered Hoyland a part-time post teaching at Hornsey College of Art which allowed Hoyland to pursue his passion for painting.

In 1960 and 1961 Hoyland was one of the youngest artists to exhibit in the Situation exhibitions alongside Harold and Bernard Cohen, William Turnbull, Gillian Ayres, Henry Mundy and Robyn Denny. His works of this period were concerned with geometric forms.

In the Autumn of 1961 the Whitechapel Gallery held an exhibition on Mark Rothko which had a profound affect on Hoyland. The carefully constructed abstract paintings from the Situation exhibitions were soon to give way to a more sinuous and organic style of painting with a strong use of colour. Hoyland was fortunate enough to win the support of the curator at the Whitechapel Gallery, Bryan Robertson, who included Hoyland's paintings in the successful exhibition The New Generation in 1964. He also helped Hoyland win a travel bursary to New York where Hoyland met and visited the studios of Robert Motherwell, Barnett Newman and Rothko. He also met the critic Clement Greenberg and the young painters Greenberg was championing at the time: Kenneth Noland and Jules Olitski.

Returning to Britain, Hoyland continued to be supported by Robertson and took courage and inspiration from the work of Anthony Caro, who became a good friend. In 1967, he was the subject of a solo exhibition at the Whitechapel Gallery and two years later represented the United Kingdom, with Anthony Caro, at the 1969 Sao Paulo Beinnale

By the 1970's Hoyland was applying the paint more freely; in the tactile paintings from this period, the paint has been poured, splattered and applied with a palette-knife. Hoyland's paintings have continued to evolve into new phases: The roots of Hoyland's art lie in northern European expressionist colourism, and from the mid-70s he followed his own predilections with absolute concentrationeach point he has maintained an unmistakable identity. (Mel Gooding, John Hoyland, 2006, intro.).
Awards:

Calouste Gulbenkian Foundation Purchase Award, 1963
Peter Stuyvesant travel bursary, 1964
Prize Winner at the John Moore's Liverpool Exhibition, 1964; First Prize, 1982
Arts Council purchase award, 1979
Joint First Prize: (with William Scott) Korn Ferry International, 1986
First Prize: Athena Art Award, 1987
Winner of the Wollaston Award for the most distinguished work in the Royal Academy Summer Exhibition, 1998
Charles A Dana Professor of Fine Art at Colgate University, Hamilton, New York, 1972 Artist in residence at the Studio School, New York, 1978
Artist in residence at Melbourne University, 1979
Royal Academy, 1991
Apointed Professor of Painting at the Royal Academy Schools, 1999
Honorary Doctorate from Sheffield Hallam University, 2000

Selected Solo Exhibitions:

The Trajectory of a Fallen Angel, Tate St Ives, 2006
Mural Design for Metro, Rome, Italy, 2001
Galleri Christian Dam, Oslo, Norway, 2001
John Hoyland Retrospective, Graves Art Gallery, Sheffield, 2001
John Hoyland Retrospective, Royal Academy of Arts, 1999
Carlow Arts Festival, Ireland, 1996
Theo Waddington, London, 1995
Annendale Gallery, Sydney, Australia, 1994
CCA Gallery, London, 1994
Galerie Josine Bokhoven, Amsterdam, Holland, 1992
Graham Modern Gallery, New York, 1992
Eva Cohon Gallery, Chicago, USA, 1991
Erika Meyerovich Gallery, San Francisco, 1988
Edward Thorden Gallery, Gothenburg, 1988
Lever/Meyerson Gallery, New York, 1987
Gump's Gallery, San Francisco, 1981
University Gallery, University of Melbourne, touring to Art Gallery of South Australia, Adelaide, and Macquarie Galleries, Sydney, 1980
Retrospective, Serpentine Gallery, London, touring to Birmingham City Art Gallery, and Mappin Art Gallery, Sheffield 1979-80
Whitechapel Art Gallery, London, 1967
Waddington Galleries, regularly from 1967



Public collections:

Albright-Knox Art Gallery, Buffalo, New York
Art Gallery of Ontario, Toronto
Art Gallery of South Australia, Adelaide
Arts Council of Great Britain
Art Museum of the Ateneum, Helsinki
Birmingham City Art Gallery
British Council, London
Calouste Gulbenkian Foundation, London
Carnegie Institute, Pittsburgh
City Art Gallery, Manchester
Contemporary Art Society, London
Courtauld Institute, London
Frederick R Weisman Art Foundation Collection, Los Angeles
Government Art Collection, London
Laing Art Gallery, Newcastle-upon-Tyne
Leicestershire Education Authority
Maclaurin Collection, Rozelle, Ayr
Melbourne University Art Gallery
Museum of Art, Rhode Island School of Design, Providence, R.I.
Museum of Modern Art, Rio de Janeiro
National Museum, Finland
Neuberger Collection, University of Purchase, New York
Perth Art Gallery, Australia
Peter Stuyvesant Foundation, London
Phoenix Museum, Arizona
Picker Gallery, Colgate University, Hamilton, New York
Power Gallery of Contemporary Art, University of Sydney, Australia
Royal Academy of Arts, London
Royal College of Physicians, London
Stadtisches Museum, Leverkusen, Germany
Tate Gallery, London
Tehran Museum of Modern Art, Tehran
Toledo Museum of Art, Toledo, Ohio
Ulster Museum, Belfast
Victoria and Albert Museum, London
Warwick University
Whitworth Art Gallery, Manchester