JOHN HOYLAND, R.A. (BRITISH, 1934-2011)
The Ark 16.2.85
signed, titled and dated 'John Hoyland/16.2.85/The Ark' (verso)
acrylic on canvas
243.8 x 243.8 cm (96 x 96 in.)
(unframed)

Provenance
The artist
With Royal Academy of Arts, London

Exhibited
London, Royal Academy of Arts, John Hoyland, 30 Sep-31 Oct 1999, cat.no.15
London, Waddington Galleries, John Hoyland, 20 Jun-14 Jul 1990
London, Hayward Gallery, The Presence of Painting Aspect of British Abstraction 1957-1988, 26 Nov 1988-15 Jan 1989, cat.no.40; this exhibition toured to Sheffield, Mappin Art Gallery, 26 Nov 1988-15 Jan 1989, Newcastle upon Tyne, Hatton Gallery, 28 Jan-12 Mar 1989 and Birmingham, IKON Gallery, 15 Apr-20 May 1989

Literature
Michael Trooby, The Presence of Painting: Aspect of British Abstraction 1957-1988, Exhibition Catalogue, The Southbank Centre, London, 1988, pp.15, 59 (ill.)
Mel Gooding, John Hoyland, Hatfield, John Taylor/Lund Humphries, London, 1990, pp.20,121 (ill.)
Paul Moorhouse, John Hoyland, Exhibition Catalogue, London, 1999, pp.19,53,70 (ill)
Mel Gooding, John Hoyland, London, Thames & Hudson, 2006, p.130, 134 (ill.)

We are grateful to Wiz Patterson Kelly at Hoyland Studios LPP for her assistance in cataloguing this lot

Hoyland Studios is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of any works by John Hoyland. Please write to Hoyland Studios, c/o Modern British and Irish Art, Chiswick Auctions, Barley Mow Centre, Chiswick London, W4 4PH Auctions, Barley Mow Centre, Chiswick London, W4 4PH or email: modernbritishart@chiswickauctions.co.uk

“Paintings are there to be experienced, they are events” - John Hoyland

Both The Ark 16.2.85 and 49 Springs 10.3.84 showcase Hoyland's investigation into style, color, and form within his artistic practice. The 1980s for Hoyland represented a critical period of evolution in his artistic career, his use of colour, geometric abstraction and the motif of the circle all became brighter bolder and more widely used. The 80s for Hoyland welcomed a further engagement with themes of abstract expressionism. The circle, in both works became a way in which Hoyland was able to explore wholeness, continuity and unity within his canvases. Continuity and change are expressed on the surfaces of the canvas, as there is a sense of harmony with his circles but disruption in shapes and colours.

Hoyland's The Ark 16.2.85 is a significant example of his abstract expressionist work. In The Ark 16.2.85, you can see Hoyland's characteristic use of intense colour fields, with large expanses of saturated hues that shift in tone and intensity. This work, like many others from this period, might also feature the application of thick paint, sometimes applied with palette knives or brushes to create a sense of physicality and texture. The title "The Ark" could refer to the painting's symbolic or abstract suggestion of protection, journey, or transcendence, but Hoyland's work generally resisted specific narrative interpretation, focusing instead on the emotive and visual impact of colour and form.

Hoyland was influenced by artists such as Mark Rothko and Barnett Newman, and he was also involved with the development of the British abstract scene in the 1950s and 1960s. His work, especially in the 1980s, is known for its commitment to bold, unmediated colour and the emotional power it conveys.

Featured in the seminal exhibition "The Presence of Painting: Aspects of British Abstraction 1957–1988", the show which toured, aimed to highlight the evolution and key developments in British abstraction during a transformative period in the art world. This exhibition (which took place in 1988) sought to examine the diverse ways in which British abstract artists responded to and engaged with the medium of painting between the late 1950s and the late 1980s. It underscored the varied responses of British artists to international developments in abstract art, as well as their exploration of form, colour, and space in new and innovative ways. Alongside Hoyland, works by Patrick Heron, Bridget Riley, Roger Hilton, Frederick Gore and Howard Hodgkin were included. The exhibition provided a glimpse into a pivotal moment in British art history, where abstraction transcended visual formalism to explore the emotional and sensory impact of the painted surface, as well as the immersive experience of engaging with such works. John Hoyland, in particular, made a substantial contribution to this evolving narrative.