Press |  1990s  | 

‘The finally inexplicable’ by Bryan Robertson

John Hoyland’s latest paintings are not being exhibited by any gallery, to the disappointment of the critic Bryan Robertson who believes them to be among his best. Here Robertson, the curator of two previous Hoyland shows, questions the artist about the new work and his development as an abstract painter …

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Publications  | 

‘Hans Hofmann: Late Paintings – An Appreciation’ by John Hoyland

Essay accompanying an exhibition of Hofmann’s paintings at Tate Gallery, curated by Hoyland. I first saw the paintings of Hans Hofmann in 1964 at the Kootz Gallery in New York. Clement Greenberg the American critic had kindly offered to show Paul Huxley and me around some of the New York …

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Press |  1980s  | 

‘Canvassing the abstract voters’ by Andrew Graham-Dixon

When Leonardo da Vinci ran out of ideas he used to go out and look at ‘a wall covered with dirt, or the odd appearance of some streaked stones.’ Staring at these skeins of abstract form, he found ‘landscapes, battles, clouds, uncommon attitudes, humorous faces, draperies. Out of this confused …

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Press |  1980s  | 

‘On Colour’: John Hoyland and Sally-Ann Schilling in conversation

John Hoyland: Well I think it’s the only thing that does – in a way that music does. Colour strikes you – I noticed it particularly in a ballet I’ve just done, where the music comes on and the colour comes on and you can feel the audience’s response. Sally-Ann …

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Press |  1980s  | 

‘Eight from England: Images that make themselves’

John Hoyland muses on the state of painting. Making art is an experience combining intellect, skill and intuition: it’s an experiment with what the artist imagines might be possible. The artist takes a chance and, if successful, anticipates what is possible experience. He does this by inventing new relationships which …

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Press |  1970s  | 

‘Campaigns in Colour’ by John Spurling

John Hoyland: Paintings 1967-79, Serpentine Gallery. The resistance to abstract art is amazing. After three-quarters of a century the standard view is still that it’s ‘just marks on a canvas’, decoration, not to be judged as serious art. Are Bach, Beethoven and Bartok merely decorative? Are Berlioz and Strauss the …

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Press |  1970s  | 

‘Waiting for the click… ’ by Edward Lucie-Smith

The John Hoyland retrospective which is currently on view at the Serpentine Gallery is full, as one might expect, of big, swagger, confident, abstract pictures, ablaze with colour. But there is more – much more – to be said about it than this. In fact, it is one of the …

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