Stanley Hayter

Stanley William Hayter (December 27th 1901 with London - May 4th 1988 with Paris) is a nonfigurative painter British of the news École of Paris, whose work was essential, as from 1932, in the revival of the modern Gravure.

Biography

His/her father is painter and one of its ancestors, at the eighteenth century, wrote several treaties on the drawing. It begins itself in 1913 to paint fabrics of impressionist style. Its studies of Organic chemistry lead it of 1922 to 1925 to work in the Persian Gulf, with Abadan, for Anglo-Iran Oil Company. He then visits the Perse and the Arabia then, on the way of the return, the Egypt. During these years it carries out many drawings and paintings of inspiration cubist which it exposes at once returned to London.

Hayter in April 1926 is established in Paris, attends during three months the Académie Julian and studies engraving near the Polish artist Joseph Hecht. Attracted by paintings of Chirico, max Ernst, Hans Arp, it meets soon Calder then André Masson and takes part in the movement Surréaliste, binding in 1933 with Paul Éluard which writes a few years later a poem inspired by its engravings (“Easy prey”, Paris, Guy Lévis-Mano, 1938; in Paul Éluard, complete Works , I, Library of the Pleiad, Paris, Gallimard, 1968, pp. 843-853, with the reproduction of works of Hayter).

Since 1927 Stanley Hayter installs a workshop of engraving, which he moves with Montparnasse in 1932 to the 17 of the street Countryside-First, from where the name of Atelier 17 which will become famous in the whole world and which will keep its later workshops. With the length of the decades will attend it in particular Picasso, Dali, Chagall, Miró, max Ernst Giacometti, Ferdinand Springer, Raoul Ubac, Vieira da Silva, and a very great number of other painters come from all the horizons, not only to learn from the traditional receipts but to seek near Bill new ways of opening engraving, means of expression autonomous, with the innovations of the language of the modern art. Hayter, multiplying the searchs for matter, particularly develops at it new processes of impression of several colors in only one operation.

Its paintings follow a plastic evolution parallel with that of its engravings. If it continues to paint portraits, dead natures and landscapes until 1929, Hayter moves away then from the figuration and carries out constructions where strings or cords, suggesting contours of body sometimes, are stuck in meanders on the plane surface of the fabric, and of the automatic drawings. Then will be reinforced in its allusive works the presence of silhouetttes, superimposed and frays, characters or animals. During this period Hayter accomplishes voyages to Venezuela, in Italy, in Greece, and several stays in Spain, the last as a guest of the government of the Spanish République. It thus takes part in 1938 in the collection “Solidarity”, published with the profit of the combatttants of republican Spain, which joins together a poem of Éluard and engravings of seven artists, of which Picasso, Miro, Masson and Tanguy.

In 1939 Stanley Hayter leaves Paris for London, where he works with the camouflage, and leaves into 1940 to the United States, where he will remain ten years. Its reputation leads it as of its arrival to teach at the School of the Art schools of San Francisco. As of the end of the year it recreates with New York new a Atelier 17 , giving through the country of the courses of painting and drawing, as well as conferences. In 1944 the road show on the Workshop 17 which organizes the Musée of modern art of New York mark an important turning which ensures Hayter an international repute. In its workshop it receives not only the American Tanguy, Calder or Masson, but artists, Pollock, Rothko, Matta, Motherwell, De Kooning, Riopelle. During this period its works, with the limit of the abstraction, develop the networks of a graphics marked around interlacing of purified female forms, reduced to the arabesque.

Returned in 1950 in Paris Hayter, which still returns in the following years of short visits to its American workshop, reopens, not far from its installation first, the Atelier 17 where his/her friends painters start again to carry out their engravings, côtoyant of younger artists, such Jean Corneille or Pierre Alechinsky. Since 1950 Hayter works during the summer with Alba-the-Roman, in Ardèche where many European and South American artists find themselves, in particular Jean Moal or Chilean the Eudaldo. The fabrics which Hayter paints, in spite of their titles of which several evoke Escoutay, the river which crosses the village, are freed from any direct allusion to visible reality. " The stays with Alba exerted some influence on Hayter, and initially physics: the air and the various perfumes of the trees and the flowers revive it after the town life with the length of which it breathed, with heat besides, odor of the acids and inks (...). Escoutay exerts on him an irresistible attraction: jumps of water, mysterious depth of the holes, swirls on the clear tanks and sombres" , Georges Limbour observes ( Hayter , 1962, p. 44). But it is only using its colors, assembled in intensity, of the gestural rates/rhythms of its layouts oblique or tangled up, that its painting, from now on nonfigurative, recreates the feeling of elementary reality, ground and water, mineral and plant, under the variable light of the seasons.

In 1958 Hayter represents the United Kingdom with the Biennale de Venise. It receives in 1960 the international Grand Prix of engraving of Tokyo, in 1972 the Grand Prix of the Town of Paris. Its works will not cease evolving to always more spontaneousness in the dynamic projection of the color, distributed thereafter according to full networks of curves spreading themselves in parallel like waves, crossing or superimposing themselves. In the Eighties their compositions burst on the broader surfaces, strongly contrasted in the reds, the greens and the yellows, again are frequently crossed by the flexible graphics, dark or luminous, which, in forms distinct with length from its route, remains characteristic of the art of Hayter

Stanley William Hayter dies in Paris on May 4th, 1988. The same year the British Museum acquires the totality of its abundant works engraved. The Oxford Dictionary off Art judge in 1997 qu ' no British artist will have had such an international influence.

Selective bibliography

S.W. Hayter, New ways off engraving , London Oxford University Near, 1947; republication, 1966.
S.W. Hayter, Butt prints , London, Moyer Beautiful, 1962.

Georges Limbour, Hayter , the Museum of Pocket, Paris, Georges Fall editor, 1962.
Stanley William Hayter, 40 years of engraving , Geneva, Museum of art and history, 1966.
Georges Limbour, Stanley Hayter in Montparnasse , in In the secrecy of the workshops , Paris, élocoquent It, 1986.
P MR. S Hacker, The Renaissance off the Gravure: The Art off S.W. Hayter , Oxford, Clarendon Near, 1988.
Carla Esposito, Milton Gendel, Bryan Robertson and P MR. S Hacker, Hayter E the Workshop 17 , Milan, Electa, 1990.
Peter Black and Desirée Hayter, The Prints off S.W. Hayter, has Supplements Catalog , New York, Moyer Bell and London, Phaidon Press, 1992.
Lydia Harambourg, Stanley Hayter , in the School of Paris 1945-1965, Dictionnaire of the painters , Ides and Calendes, Neuchâtel, 1993, pp. 233-234.

Internal bond

nonfigurative Painting

External bonds

Collection of the National museum of modern art Centers Georges Pompidou (to seek: Hayter)
Photographs of the site of the Meeting of the National museums
virtual Exposure, Gallery Michelle Champetier, Cannes, July-December 2006.
the circus , 1933 (Foundation Arpad Szenes - Vieira da Silva, Lisbon
Deliquescence , 1935 (Gallery Touches)
Unstable woman , 1947 (Wake Forest University)
Hayter in Redfern gallery
engravings of Hayter to the " Government Art Collection" , London
Art gallery proposing of works of Hayter.

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