Page 48 - Studio International - May 1965

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cubism. He feels in himself the technical and moral
certitudes, the independence of the spirit which permit
new audacities, new experiences. The surge towards
abstract art around him takes gigantic proportions but
it leaves him indifferent; he does not feel the need to
come back to complex conceptions. to the complicated
game of things too premeditated. He knows that a
painting can, and even must, be thought, but that it
must also, to satisfy him, keep something of the
primary inspiration. something of the deeply suggestive
1n relation to nature.
He begins then a series of still-lives without parallel
to his past and of which one could not find its equiva­
lent in contemporary art. In these still-lives each object
1 takes a strange autonomy, isolates itself completely
Henri Hayden
Les Champs 1964 from the other objects which surround it, although the
28! X 36 In whole keeps a very firm unity; a strange bond reunites
2 all the details in the same atmosphere. in a range of
Henri Hayden colours extremely refined and subtle. We are very far
Cultures 1963
18x21fin from the somewhat dry compositions of cubism; we
3 find here, however, their echoes, their analogies,
Henri Hayden especially this strange relation between forms which
Nature Morte en 8/eu 1964
21x26f1n create a space of their own.
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