Patrick Hayman

Patrick Hayman

The Dark Plane Takes Off at Evening, 1988 Oil on canvas, 61 x 46 cm Signed ‘Hayman’ lower left Signed ‘HAYMAN/The DARK PLANE TAKES OFF/AT EVENING/1988’ verso Provenance: The Artist’s Estate Illustrated: Mel Gooding, ‘Patrick Hayman - Visionary Artist’ 2005, illus. p.91

Illustrated cover (detail): Wellington Harbour, New Zealand, 1945 Oil on board, 36 x 45 cm Signed ‘Hayman’ lower left, Signed verso ‘Patrick Hayman/Wellington Harbour/NZ/1945’

Patrick Hayman “To paint is to start on a journey of discovery.

As such he is always a voyager into the unknown, one who rides from the periphery towards the centre. The lands he explores may vary according to their nature and to his intention. An explorer of light for instance, is a metaphysical adventurer into the blue.”

- Patrick Hayman (‘A Painter’s Notes’ in Painter and Sculptor)

ISBN: 978-0-473-62072-1 Published March 2022 Text by Kaitlin Stewart & Jonathan Gooderham Edited by Grace Alty Photography by Sam Hartnett

Jonathan Grant Galleries 280 Parnell Road PO Box 37673 Auckland 1151 New Zealand T: (64) 9 308 9125 E-mail: jg@jgg.co.nz

www.jgg.co.nz

www.franceshodgkins.com

Patrick Hayman, born in London 1915, was a notable painter and poet recognized for his highly original and imaginative works. His style was semi-abstract, and his unique perspective of history and literature greatly informed his painting style.

Hayman spent his childhood and early teenage years in England, attending Malvern College, Worcestershire. In 1936, at the age of 19, he set sail for New Zealand on the S.S. Rangitiki to join his father’s importing firm P. Hayman and Company in Dunedin. Hayman was greatly inspired by his new surroundings, in particular the artistic heart of Dunedin, and soon became friends with Colin McCahon, his wife the painter Anne Hamblett, Doris Lusk, Rodney Kennedy, Charles Brasch and Ron O’Reilly. He began his painting career as a part-time student at the Dunedin School of Art and during his time studying considered himself as more of a poet and writer, rather than a painter.

After three years of study Hayman left Dunedin in 1939 and joined McCahon, Lusk, Kennedy and Elespie Forsyth at the clay-built house of Toss Woollaston in Ma-pua. The group drew, painted and worked long hours on an orchard.

In 1940, Hayman moved to Wellington to attend Victoria University.

Hayman spent the 1940’s war period in Wellington, living in a bedsit on the harbour. He fell in love with the large ships and found the seascape magical. His imaginative perspective of the landscape was formulated during this time, thus setting the obscure tone for his work.

Hayman’s love for the sea led him to Cornish artist Alfred Wallis, whom he read about during his studies. Wallis used scraps of cardboard to paint ships from memory during his time as a fisherman. This resourceful technique became a major influence throughout Hayman’s career.

In 1945 Hayman was trusted by Colin McCahon to choose and hang pieces for his exhibition at the French Maid Coffee House in Lambton Quay, Wellington. McCahon wrote to his sister, Beatrice, stating, “Last weekend I spent in Wellington to see the exhibition. Very beautifully hung by Pat Hayman”.

Hayman was also invited to McCahon’s wedding to Anne Hamblett that same year, giving the artist a copy of Professor Charles Andrew Cotton’s

‘Geomorphology of New Zealand’, a book that had a great influence on McCahon’s art.

In 1947 Hayman returned to England where he became heavily involved with the St Ives art community. The quintessential style of his work was already established, and it was encouraged in this environment which twenty years previously had nurtured the untutored vision of Alfred Wallis. Hayman found inspiration from not only the seascape which fondly reminded him of New Zealand, but also other artists from the colony.

Christopher Wood, a British artist who shared the same admiration for Wallis’ work, was held in high regard by Hayman as he believed his work had a real feeling for colour, life and originality.

His work garnered admiration from notable artists such as Barbara Hepworth and Peter Lanyon, who were well known within the Cornwall community. In 1952, Barbara Hepworth wrote to Patrick Hayman; “There are so many of your paintings that I would love to have…”. It was at Hepworth’s request that in 1964, Hayman became an honorary member of the Penwith Society of Arts in Cornwall.

Throughout the 1950’s, Hayman and his wife Barbara Judson lived in Carbis Bay, very near to the town of St Ives. In 1953, Hayman’s first solo exhibition was held at Gallery One in London.

That same year, Hayman exhibited Self Portrait as a Flying Machine, a work that exposed his refusal to attach to any sense of conformity, evident in many of his personal portrayals. Throughout the 1960’s Hayman taught at the Falmouth School of Art and then at Croydon School of Art. It was in Barnes that Hayman founded The Painter and Sculptor magazine – a quarterly publication that highlighted humanistic figurative art.

The same year as his death, 1988, ‘Painted Poems’ a work by Patrick Hayman was published by Louise Hallett Gallery. His inventive work continued to inspire others after his death. A large retrospective exhibition was held at Camden Arts Centre in 1990. His work can be found in New Zealand and international galleries such as Museum of New Zealand Te Papa Tongarewa, The Tate London, Christchurch Art Gallery Te Puna - , Tate St Ives, Auckland Art Gallery o Waiwhetu Toi o Tamaki, the Arts Council in England, and numerous other museums.

- Kaitlin Stewart

Girl With Flowers, New Zealand, 1944 Oil on board, 65 x 52.5 cm Signed verso ‘Patrick Hayman/New Zealand/Girl with Flowers/1944’ Illustrated: Mel Gooding, ‘Patrick Hayman - Visionary Artist’ 2005, p.177

Portrait of a Woman Oil on board, 40 x 60.5 cm Signed ‘Hayman’ upper right Signed ‘Hayman’ verso Provenance: The Artist’s Estate

Two Friends, 1948 Gouache on paper, 17.5 x 25 cm Signed ‘Hayman’ lower right Signed ‘Hayman/Two Friends/1948’ verso Provenance: The Artist’s Estate

On the Beach (Man in Tin hat), 1986 Gouache on paper, 25.5 x 35.5 cm Signed ‘Hayman 1986’ lower right Titled ‘On the Beach (Man in Tin Hat)’ verso Provenance: The Artist’s Estate

The Moon Girl, 1975 Oil on board, 25.5 x 30.5 cm Signed ‘HAYMAN’ upper left Signed ‘The Moon Girl 1975’ verso Provenance: Private Collection U.K.

Girls in The Snow, 1964 Gouache on paper, 30 x 45.5 cm Signed ‘Hayman/Girls in the Snow/1964’ Provenance: The Artist’s Estate

Frightened Girl, 1947 Oil on board, 51 x 28 cm Signed ‘Patrick Hayman/1947/NZ/Frightened Girl’ verso

The Holy Family, 1963 Oil on board, 51 x 41 cm Signed ‘Hayman’ upper right Signed ‘Patrick Hayman/The HOLY FAMILY/1963’ verso Exhibited: Beaux Arts Gallery, London

The Entry of Christ into Jerusalem, 1959 Oil & tempera on panel, 16 x 23 cm Signed ‘Hayman’ lower right Signed ‘HAYMAN/The Entry of Christ Into Jerusalem/1959’ verso

Leaving Church Gouache on paper, 22.5 x 14 cm Signed ‘Hayman’ lower right

The Batsman from Down Under, 1979 Mixed media construction, 49 x 7.5 cm Signed ‘Hayman/The BATSMAN FROM DOWN UNDER’ Signed ‘Patrick Hayman/ The BATSMAN from/ DOWNUNDER/ Construction 1979’ verso

Jonathan Grant Galleries 280 Parnell Road PO Box 37673 Auckland 1151 New Zealand T: (64) 9 308 9125 E-mail: jg@jgg.co.nz

www.jgg.co.nz