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unfamiliar in the realm of taste which is the essential ingredient of colour painting and the one sure guide to originality in a colourist. In the most recent canvases shown, small flecks of bright colour invade the spaces of neutral ground; we are not accustomed to focusing on something so small in a large abstract painting, unless as in a painting by Pollock it is the chance spattering of a more expansive gesture. But Hoyland's recent paintings are not gestural. These small touches of colour were applied deliberately; yet they maintain the physical emphasis and obtrusiveness of accident. Hoyland has managed in this way to make us see detail, in a painting as large as one measuring 198 x 610 cm, not as detailed elements of composition, but as detailed colour, detaile paint. He has kept his colour, and thus his means of expression, free, somewhere between calculation and accident, by keeping it physical and real. This ability to make us sense colour as something physical and emotive in itself, neither the representation of a physical object nor the record of an emotive gesture, is a part of the new dimension of abstraction gained for painting since 1950. Hoyland is one of the few painters anywhere who can move within this dimension with confidence and with authority. In the finest pictures, such as 23.11.68 and the magnüicent 28.2.69, we are made deeply conscious of the area of crisis between means and end, between stability and flux, between what is already given in the form of a painting and what is being embodied in the process of painting it: on the one hand knowledge and physical fact, shape and structure, on the other discovery and new experience, colour and space. In the processes of his paintings, Hoyland confronts human dilemma, and in his colours and forms he discovers human sensation.

Charles Harrison

HOYLAND, lobn (1934) Acrílico em tecido de algodão 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.

21.2.66. Cal. Peter Stuyvesant Foundation, London. 198 x 366. 14.9.66. Cal. Waddington Galleries, London. 198 x 366 14.10.66. 198 x 366 17. 10.66. Col. Nicholas Wilder Gallery, Los Angeles. 198 x 366 29.12.66. Col. Waddington Galleries, London. 198 x 366 16.7.67. Col. McCrory Corporation, New York. 198 x 366 15.10.67. Col. Waddington Galleries, London. 198 x 366 20.5.68. Col. Waddington Galleries, London. 198 x 366 25.7.68. Col. Mr. e Mrs. Ira S. Agress, New York. 198 x 366 3.8.68. Col. Ulster Museum, Belfast. 198 x 366 9.11. 68. Col. Waddington Galleries, London. 214 x 366 14.5.68. Cal. Waddington Galleries, London, 214 x 366. 8.1. 69. Cal. British Council, London. 214 x 183 12.1.69. Col. Contemporarâ Art Society, London. 198 x 366 28.2.69. Col. Robert Elkon Gallery, New York. 214 x 610

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Profile for Bienal São Paulo

10ª Bienal de São Paulo (1969) - Catálogo I  

Primeira parte do Catálogo da 10ª Bienal de São Paulo (1969).

10ª Bienal de São Paulo (1969) - Catálogo I  

Primeira parte do Catálogo da 10ª Bienal de São Paulo (1969).

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