Yale Center for British Art

Creator:
John Hoyland, 1934–2011, British
Title:
Devilaya 28.12.77
Date:
1977
Materials & Techniques:
Acrylic on cotton duck
Dimensions:
96 x 90 inches (243.8 x 228.6 cm)
Credit Line:
Yale Center for British Art, Gift of Samuel and Gabrielle Lurie
Copyright Status:
© Estate of John Hoyland
Accession Number:
B2012.29.2
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
abstract art
Currently On View:
Not on view
Exhibition History:
The Independent Eye: Contemporary Art from the Collection of Samuel and Gabrielle Lurie (Yale Center for British Art, 2010-09-16 - 2011-01-02)

The Independent Eye: Contemporary Art from the Collection of Samuel and Gabrielle Lurie (Flowers Galleries, 2011-01-26 - )
Publications:
Eleanor Hughes, The Independent Eye, Contemporary British Art from the Collection of Samuel and Gabrielle Lurie , Yale Center for British Art, New Haven, 2010, pp. 21, 62, 90-91, 173, Cat. No. 13, Pl. 13, fig. 41; Image 13 on CD Rom, N6768 .I56 2010 OVERSIZE (YCBA)

John Hoyland, Paintings 1967-1979 , Arts Council of Great Britain, London, 1979, p. 25, NJ18 H832 A12 1979 (YCBA)

Mr. and Mrs. Samuel J. Lurie, Love and Art : A Personal, Passionate, Journey of Discovery with 101 works of superb less-known art, Eagle Art Publishing, Inc., New York, 2009, pp. 39. 45, fig. 19, N7477 L87 2009 OVERSIZE (YCBA)

Paul Moorhouse, John Hoyland, Royal Academy of Arts, London, 1999, no. 10, NJ18 H832 M66 1999 OVERSIZE (YCBA)
Gallery Label:
Heavily influenced by the exhibition of new American painting in London in the late 1950s, John Hoyland soon established himself as one of Britain’s most prominent abstract painters. Among the first British painters to use acrylic paint, following its arrival on the market in the 1960s, his work is typified by its vibrant, often luminous, colors and, especially toward the end of his career, energetic handling of paint. Hoyland’s stated influences were wide-ranging, from the paintings of J. M. W. Turner and John Constable to the culture of the Caribbean, jazz music to snorkeling, and poetry to pottery. Above all, he wished his art to appeal to the viewer’s senses without the national limitations inherent in speech or text. He strived to make paintings that "could cross social, linguistic and cultural barriers in the way that music does." Devilaya is representative of his work from the late 1970s when he began deploying a more varied vocabulary of forms, incorporating triangles and diamonds that divided the canvas in interesting ways. Gallery label for installation of YCBA collection, 2020
Link:
https://collections.britishart.yale.edu/catalog/tms:62958