Julian Hatton

Julian Hatton

Julian Hatton
Born Julian Hatton
(1956-12-19) December 19, 1956
Grand Haven, Michigan, United States
Nationality American
Education NY Studio School of
Drawing, Painting & Sculpture
1980–1982[1]
Known for Painting
Notable work "Tamaracks in December"
Movement Fauvism[2]
Abstract Expressionism[2]
American modernism[3]
Awards MacDowell Residency Fellowship (1992)[4]
NEA (1993)[4]
N.Y.F.A. (1998)
Fellowship in Painting[4]
Pollock-Krasner Foundation(2001)[5]
American Academy of
Arts and Letters (2007)[6]
Academy Awards in Art[7]
Website www.julianhatton.net
Patron(s) Steve Wynn

Julian Burroughs Hatton III is an American landscape abstract artist from New York City[8] whose paintings have appeared in galleries in the United States and France. The New York Times described his painting style as "vibrant, playful, semi-abstract landscapes"[9] while New York Sun art critic John Goodrich compared him to French painter Bonnard.[10] Hatton's abstract landscapes have been compared to paintings by Arthur Dove and Georgia O'Keeffe because of his "unbridled love of pure, hot color" similar to Gaughin and the Fauves, according to critic Ann Landi of ARTnews.[11] Hatton's vision is of "a nature that you can literally eat with your eyes, eye candy transposed onto the entire world," according to critic Joel Silverstein.[12] Hatton lives and works in New York City.

Early years

Slow Curve by Julian Hatton.

Hatton was born in Grand Haven, Michigan.[1] The cold Michigan climate with two months of good weather each year, contrasted with the cold flat landscape influenced his sense of color, he recalled later.[13] He graduated from Phillips Academy in Andover, Massachusetts in 1974 in the school's first co–educational class. His classmates included jazz Grammy–winner Bill Cunliffe, software financier Peter Currie, actor Dana Delany, poet Karl Kirchwey, political commentator Heather Mac Donald, restaurateur Priscilla Martel, children's TV producer Jonathan Meath, editor Sara Nelson, and sculptor Gar Waterman. He studied Latin with writer Nate Lee. Hatton graduated from Harvard University in 1979 with a major in art history.[1] Painting in the north of France helped him develop his understanding of color and landscape.[13] His first application to the Studio School in New York was rejected since he lacked a portfolio. He studied with painter Fernando Zobel in Spain, returned with a portfolio, and was accepted.[14] He enrolled at the New York Studio School of Drawing, Painting and Sculpture from 1980 to 1982.[1][15] After school, Hatton lived the life of a struggling artist, working at the Water Club restaurant in Manhattan for eight years.[14]

Later he worked with decorative painters, painting interiors of apartments and restaurants, while living in SoHo.[16] In between jobs, Hatton took his portable easel and paint supplies and bicycled to Breezy Point and Prospect Park.[17] Often he would work new painting over old, using parts of the old painting to help solve formal and symbolic problems, while responding to the landscape at hand.[17]

Close to the Wizard of Oz by Julian Hatton.

Through trial and error he discovered an innate affinity for bold saturated color as well as a love of abstraction that shadowed naturalism. His work has been called "lyrical."[18] During these years he often worked with fellow artist and wife Alison Berry. His work began to receive recognition, and his paintings started to be shown in art galleries.

Career

Hatton exhibited at Manhattan galleries including Elizabeth Harris Gallery, Kathryn Markel Gallery, Frederieke Taylor Gallery, Frank Mario Gallery, Jon Leon Gallery, Eighth Floor Gallery, Lohin Geduld Gallery and the American Academy of Arts and Letters Invitational Exhibit.[1] He has exhibited his artwork in Washington, Atlanta, San Francisco, Dallas, Charlotte, La Jolla, and Southwest Harbor and Belfast in Maine.[1] His work was shown internationally at the Museum at Rochefort-en-Terre in Brittany, France.[1]

ArtInfo described his paintings as "boldly integrating invented and observed shapes and colors" with his "own lexicon of shapes and lines which he arranges in innovative ways" using a "homemade visual syntax" yielding a "feast of contradictions."[3] During these years he taught at the Rhode Island School of Design as well as Swarthmore College and the Vermont Studio Center.[19] His paintings have appeared in the Hijirizaka Collection in Tokyo, the IBJ Schroder Bank & Trust in New York, and at Brook Partners in Dallas. His paintings are in numerous collections, from the Metropolitan Museum of Art in New York to the Steve Wynn collection in Las Vegas.

Reactions by critics

New York Times critics have described his painting style as a "layered shapes in saturated colors"[20] which were "vibrant, playful, semi-abstract landscapes" which "layers broad, richly colored shapes of trees, rivers and hills into funky, tautly frontal arcadian visions."[9] Paintings had a "mix of Fauvism, Abstract Expressionism and outsider vision.[9]

Art critic John Goodrich of the New York Sun felt Hatton's paintings were less "real" in terms of factual description but they "contain their own peculiar truths, evident in keenly felt colors and designs."[21] Goodrich felt Hatton "finds expression through his forms."[22] Hatton's paintings "remind us of the potency of a particular modernist aesthetic, and they reward prolonged looking."[22] Goodrich elaborated:

“ The paintings' most intriguing aspect, however, remains their combination of loose allusions and tight rhythms. As with Bonnard, a kind of muscular whimsy prevails.[21][23][24] ”

Critic Ann Landi of ARTnews wrote there was "something endearingly anachronistic about Julian Hatton's abstractions" which had an "unbridled love of pure, hot color," and compared Hatton to Arthur Dove, Georgia O'Keeffe, Paul Gauguin and the Fauvres.[11]

Critic David Ebony in ArtNet in 1996 described Hatton's paintings:

“ Julian Hatton paintings are ostensible landscapes, but they are not landscape scenes, nor impressions of landscape. Instead, the artist, inspired by natural forms, paints his thoughts about the interaction of humanity and nature. For Hatton, landscape painting is both a physical and a metaphysical exercise. His works are both microcosms and macrocosms, internal and external, of the body and outside the body. A work such as Double Dip has all the elements of a portrait, yet it remains recognizable as a landscape. Using jarring color relationships, halting, jagged lines and a large dose of humor, Hatton reveals to us a little known facet of our relationship to nature. -- Critic David Ebony[25] ”

Ebony wrote in 2005 in Art in America that Hatton "experiments with complex and sometimes contradictory spatial relationships" and that his landscapes "consist of Cubist-inspired fractured planes and shifting, multiple perspectives."[26] Critic Joel Silverstein in Reviewny.com suggested Hatton's paintings "sing to each other in a high key citron-like color" and compared him to Paul Gauguin, Miró and Hofmann.[12] He described Hatton as a "lyrical designer" who "abstracts form by promoting visual attractiveness."[12]

Artist Barbara Rothenberg who teaches art at the Silver Mine Guild Arts Center in New Canaan, Connecticut, and who follows Hatton's career, suggested that Hatton's works were becoming more "abandoned" and that the artist was taking greater "risks"; she likes Hatton's use of the color red.[27]

Awards and grants

See also

References

  1. 1 2 3 4 5 6 7 "Julian Hatton". Julian Hatton website. 2010-01-01. Retrieved 2010-01-01.
  2. 1 2 "Art Guide". The New York Times. April 9, 1999. Retrieved 2010-01-05. His paintings seem a mix of Fauvism, Abstract Expressionism and outsider vision (Johnson).
  3. 1 2 "Julian Hatton: Recent Paintings". ArtInfo. April 15, 2006. Retrieved 2010-01-01. Julian Hatton returns to the Elizabeth Harris Gallery for his first solo show in almost four years ... Hattons paintings pay tribute to early American Modernists and remain a significant contribution to the idea of working from nature.
  4. 1 2 3 4 5 6 7 "The Artist–Julian Hatton". ArtOnline. 2010-01-01. Retrieved 2010-01-01. 1998–New York Foundation for the Arts Fellowship in Painting; 1995–Rochefort-en-Terre, Art Colony Fellowship, Brittany, France; 1993–National Endowment for the Arts, Washington, D.C.; 1992–MacDowell Residency Fellowship
  5. ↑ "Artnet News: POLLOCK-KRASNER ANNOUNCES $4.3 MILLION IN GRANTS". artnet. October 31, 2001. Retrieved 2010-01-05. Grant recipients are: Wolfgang Aichner, ... Julian Hatton,
  6. ↑ "Artnet News". artnet. Mar 22, 2007. Retrieved 2010-01-05. Artists ... Julian Hatton ... are the recipients of the American Academy of Arts and Letters’ 2007 "Art Awards," worth $7,500 each
  7. ↑ "Artnet News". artnet. May 24, 2007. Retrieved 2010-01-05. Some 50 awards were also given out by the academy at the ceremony. These included a "Gold Medal for Sculpture" to Martin Puryear; "Academy Awards in Art" for Jackie Gendel, Julian Hatton,
  8. ↑ Vivien Raynor (June 17, 1990). "ART; Full House at Gallery in Marlborough". The New York Times. Retrieved 2010-01-01. ... Julian Hatton ...
  9. 1 2 3 Johnson (1999-04-09). "Julian Hattan". The New York Times. Retrieved 2010-01-01. Vibrant, playful, semi-abstract landscapes ...
  10. ↑ John Goodrich (April 3, 2008). "Locating Truth Within a Grand Illusion". The New York Sun. Retrieved 2010-01-01. As with Bonnard, a kind of muscular whimsy prevails.
  11. 1 2 Ann Landi (2006-07-01). "Reviews: New York; Julian Hatton / Elizabeth Harris Gallery". ARTnews. Retrieved 2010-01-01. ...and an unbridled love of pure, hot color ...
  12. 1 2 3 Joel Silverstein (2001-04-01). "Curious Terrain". Reviewny.com. Retrieved 2010-01-01. The paintings sing to each other ...
  13. 1 2 Harry Swartz-Turfle (October 1, 2008). "Julian Hatton: From landscape to abstraction". Daily Gusto. Retrieved 2010-01-01. ... Hatton said he'd never experienced anything like it, and clearly there was an affinity for that liveliness in a cold landscape.
  14. 1 2 Harry Swartz-Turfle (October 1, 2008). "Julian Hatton: From landscape to abstraction". Daily Gusto. Retrieved 2010-01-01. Hatton also talked about coming to New York in 1980 ...
  15. ↑ "Julian Hatton". Vermont Studio Center. 2008-02-11. Retrieved 2010-01-01. Julian Hatton (b. 1956, Grand Haven, MI) received a B.A. from Harvard and also studied at the NY Studio School. He is represented by Elizabeth Harris Gallery in NY, and has also shown at R.B. Stevenson Gallery in La Jolla, Robert Clements Gallery in Portland, and Campbell-Thiebaud Gallery in San Francisco. ... His bibliography includes The NY Times, Art Vision Magazine, and Art in America.
  16. ↑ John Deiner; et al. (April 12, 1998). "New York '98; A Friend In New York; Ever wish you had a pal in Manhattan who really knows the territory and will help you plan your next visit? You're welcome to share ours.". Washington Post. Retrieved 2010-01-01. Julian Hatton and Alison Berry, fortysomething, are artists who live and paint in SoHo. They do decorative painting of restaurants and other places to supplement their starving-artists' existence. ...
  17. 1 2 Harry Swartz-Turfle (October 1, 2008). "Julian Hatton: From landscape to abstraction". Daily Gusto. Retrieved 2010-01-01. He began taking his cigar box of paints on his bicycle and started to paint in the city. ...
  18. ↑ Harry Swartz-Turfle (October 1, 2008). "Julian Hatton: From landscape to abstraction". Daily Gusto. Retrieved 2010-01-01. His work started to get more abstract and lyrical ...
  19. ↑ "Section: Briefs". Muskegon Chronicle. July 21, 2007. Retrieved 2010-01-01. GRAND HAVEN -- Two new displays of art are on exhibit through July at the Grand Haven Area Arts Council Building, 1045 Columbus. The exhibits are by former Grand Haven resident Julian Hatton and New York City artist Alison Berry. Hatton's works on display are a collection of abstract landscape paintings. He has taught at the Rhode Island School of Design, Swarthmore College and the Vermont Studio Center. He is a 1979 graduate of Harvard College.
  20. ↑ "ART GUIDE". The New York Times. January 25, 2002. Retrieved 2010-01-01. CURIOUS TERRAIN, Elizabeth Harris, ... a jaunty semi-abstract picture made of layered shapes in saturated colors by Julian Hatton; ... (Johnson).
  21. 1 2 John Goodrich (April 3, 2008). "Locating Truth Within a Grand Illusion". The New York Sun. Retrieved 2010-01-01. ... contain their own peculiar truths ...
  22. 1 2 John Goodrich (April 3, 2008). "Locating Truth Within a Grand Illusion". The New York Sun. Retrieved 2010-01-01. ... Mr. Hatton finds expression through his forms...
  23. ↑ John Goodrich (April 3, 2008). "Locating Truth Within a Grand Illusion". The New York Sun. Retrieved 2010-01-01. Mr. Hatton's vibrantly colored organic shapes are both daintier and looser than Matisse's.
  24. ↑ John Goodrich (April 3, 2008). "Locating Truth Within a Grand Illusion". The New York Sun. Retrieved 2010-01-01. ... a kind of muscular whimsy prevails...
  25. ↑ david ebony (1996). "New York top ten". artnet. Retrieved 2010-01-05. Julian Hatton paintings are ...
  26. ↑ David Ebony (May 2005). "Julian Hatton at Elizabeth Harris". Art in America. Retrieved 2010-01-01. ...experiments with complex and sometimes contradictory spatial relationships ... Cubist-inspired fractured planes and shifting, multiple perspectives...
  27. ↑ Barbara Rothenberg (2010-11-20). "interview at Elizabeth Harris Gallery". (to J. Hatton:) I love the risks you take ... getting more abandoned ... love the way you use red...
  28. ↑ Julian Hatton American Academy of Arts and Letters Award winner

External links

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