Masters & Contemporary
Skip to main content
  • Menu
  • Artists
  • About
  • Editions
  • Exhibitions
  • Press
  • Contact
Menu

Artworks

Open a larger version of the following image in a popup: John Hoyland, Moonshot, 1983

John Hoyland

Moonshot, 1983
Acrylic on Cotton Duck
23 3/4 x 24 1/8 in
60.3 x 61 cm
signed, dated and titled 'John Hoyland MOONSHOT 5.3.83' (on the reverse)
Enquire
%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EMoonshot%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E1983%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EAcrylic%20on%20Cotton%20Duck%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E23%203/4%20x%2024%201/8%20in%3Cbr/%3E60.3%20x%2061%20cm%3C/div%3E%3Cdiv%20class%3D%22artist%22%3EJohn%20Hoyland%3C/div%3E%3Cdiv%20class%3D%22signed_and_dated%22%3Esigned%2C%20dated%20and%20titled%20%27John%20Hoyland%20MOONSHOT%205.3.83%27%20%28on%20the%20reverse%29%3C/div%3E
View on a Wall
John Hoyland trained at Sheffield College of Art (1951–6) and the Royal Academy Schools (1956–60). He began by 1954 to paint Sheffield landscapes and abstractions from still-life subjects. At the...
Read more
John Hoyland trained at Sheffield College of Art (1951–6) and the Royal Academy Schools (1956–60). He began by 1954 to paint Sheffield landscapes and abstractions from still-life subjects. At the Situation exhibitions of 1960–61 he showed some of his earliest fully abstract paintings in which he used bands of colour to explore perceptual effects such as the relationship of image to background or to create the illusion of buckling the picture-plane. This geometric character soon gave way to sinuous lines enclosing discs of colour, and eventually to a freer and more fluid application of paint.

Hoyland's visit to New York in 1964 brought him into contact with Helen Frankenthaler, Kenneth Noland and Jules Olitski and the critic Clement Greenberg, who showed him the work of Hans Hofmann and Morris Louis. Elements from these American developments, especially from colour field painting and Post-painterly Abstraction, feature prominently in subsequent canvases by Hoyland such as 1.11.68 (1968; London, Tate) in the use of staining techniques and acrylic paint, the interaction of unmixed colours, and an emphasis on the material weight of paint. Hoyland came to reject the American tendency to reductivism, concentrating in later paintings on the approach exemplified by Hofmann and de Staël, with varied and tactile paint surfaces and a disposition of blocks of different colours to create sensations of advancing and receding space. From the late 1960s Hoyland applied these methods also to screenprints, lithographs and later to etchings and monotypes.
Close full details

Provenance

with Waddington Galleries Ltd., London.
Private collection, New York.

Share
  • Facebook
  • X
  • Pinterest
  • Tumblr
  • Email
Previous
|
Next
273 
of  359
Manage cookies
Copyright © 2025 Masters & Contemporary
Site by Artlogic
Facebook, opens in a new tab.
Twitter, opens in a new tab.
Pinterest, opens in a new tab.
Instagram, opens in a new tab.
ArtStack, opens in a new tab.
Join the mailing list
Send an email
View on Google Maps

This website uses cookies
This site uses cookies to help make it more useful to you. Please contact us to find out more about our Cookie Policy.

Manage cookies
Accept

Cookie preferences

Check the boxes for the cookie categories you allow our site to use

Cookie options
Required for the website to function and cannot be disabled.
Improve your experience on the website by storing choices you make about how it should function.
Allow us to collect anonymous usage data in order to improve the experience on our website.
Allow us to identify our visitors so that we can offer personalised, targeted marketing.
Save preferences