Henri Hayden

Vente : Christie's Londres, 24 mai 1990, lot 144
Acquis lors de cette vente par le propriétaire actuel 

The canvas is not lined. Apart from very few minor spots of old retouching along the edges, visible under UV light, this work is in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

signed 'Hayden' and dated '1918' (lower left) ; signed 'Hayden' and dated 'II-1918' (on the reverse), oil on canvas. Painted in February 1918.

Cette splendide composition de 1918 illustre la virtuosité cubiste ainsi que l'évident talent de coloriste qui firent la renommée de l'artiste. En 1915, Henri Hayden manifeste un intérêt de plus en plus prononcé pour Cézanne et installe son atelier boulevard Raspail, à côté de Metzinger, Severini et Picasso. L'artiste côtoie alors les artistes du groupe de Montparnasse auxquels on peut adjoindre Gris, Lipchitz, Jacob, Matisse, Cocteau. Dans le climat d'émulation qui règne à Montparnasse, Hayden finit par se convertir totalement au cubisme, avec ce que Salmon décrira comme "un enthousiasme réfléchi, dissociant la couleur de la forme et réduisant les objets à des signes elliptiques. Hayden adhéra au cubisme, ayant déjà produit beaucoup, pour avoir beaucoup acquis sur lui même" (cit in Anisabelle Berès et Michel Arveiller, Au temps des cubistes 1910- 1920, Paris, 2006, p. 252).

L'artiste déclare lui-même quelques années plus tard : "Je n'ai absorbé le cubisme qu'en 1915, après avoir avalé et digéré toute la peinture française en quelques années. Cette rapide absorption m'a amené à un esprit de synthèse correspondant,  à mon insu, aux recherches de Picasso et de Braque à cette époque " (cité in op. cit. p. 252).  

 

This delightful composition from 1918 illustrates the Cubist virtuosity and manifest talent as a colourist for which Henri Hayden would become famous.  In 1915, Hayden became increasingly interested in Cézanne and moved to a studio on the Boulevard Raspail, near Metzinger, Severini and Picasso.  He therefore began to rub shoulders with the artists of the Montparnasse group including Gris, Lipchitz, Jacob, Matisse and Cocteau.  Soon, carried along by the spirit of emulation that pervaded Montparnasse, Hayden had totally converted to Cubism, with what Salmon would describe as "a considered enthusiasm, dissociating colour from form and reducing objects to elliptical signs.  Hayden adhered to Cubism, having already produced a great deal, in order to acquire a great deal of himself" (cited in Anisabelle Berès et Michel Arveiller, Au temps des cubistes 1910- 1920 , Paris, 2006, p. 252).

The artist himself would declare several years later: "I only absorbed Cubism in 1915, after having swallowed and digested all of French painting in a few years.  This rapid absorption led me, in a spirit of creative synthesis, without even realising, to Picasso and Braque's experimentation at the time (cited in op. cit. p. 252).