The 17th century in England was a period of profound political, social, and cultural transformation. Amidst the turmoil of civil war, the austerity of the Commonwealth, and the exuberant return of the monarchy with the Restoration, art, particularly portraiture, continued to flourish, serving as a vital record of the era's prominent figures and shifting tastes. Among the skilled practitioners of this art form was John Hayls (also sometimes spelled Hales), a painter whose work, though perhaps overshadowed by some of his more flamboyant contemporaries, offers a valuable insight into the artistic currents and patronage of mid-17th century London.
Elusive Beginnings: The Early Life of John Hayls
Pinpointing the exact birth year of John Hayls remains a challenge for art historians, as comprehensive records from that period are often scarce or incomplete. The provided information suggests his active period spanned from approximately 1640 to his death in 1679. Given that artists typically required a period of training and establishment before becoming "active," it is reasonable to infer that Hayls was likely born in the earlier decades of the 17th century, perhaps between 1600 and 1620. A birth in the 1620s or 1630s, as tentatively suggested, would mean he began his professional career at a very young age or that his "active" period started slightly later. What is certain is that by the mid-century, he was an established painter.
The artistic environment in which Hayls would have received his training was heavily influenced by the legacy of Sir Anthony van Dyck, the Flemish master who had revolutionized English portraiture with his elegant and psychologically astute depictions of the court of Charles I. Van Dyck's death in 1641 left a void, but his style continued to resonate. Native-born artists like William Dobson, who captured the sombre mood of the Civil War era in his robust portraits, also made significant contributions. It is within this evolving artistic landscape that Hayls would have honed his craft, likely apprenticing with an established master, though specific details of his tutelage are not definitively known.
The Artistic Milieu of Restoration London
The Restoration of King Charles II in 1660 ushered in a new era of cultural vibrancy and courtly patronage. London became a hub for artists, and the demand for portraits surged as aristocrats, gentry, and increasingly, wealthy merchants sought to commemorate their status and lineage. This period saw the rise of Sir Peter Lely, a painter of Dutch origin who, much like Van Dyck before him, came to dominate court portraiture with his suave and somewhat standardized, yet undeniably glamorous, depictions of courtiers and society beauties.
Hayls operated within this competitive environment. While Lely catered extensively to the highest echelons of the court, there was ample room for other talented painters. Hayls developed a reputation for his skillful and often more individualized likenesses, appealing to a clientele that valued his meticulous approach and ability to capture character. His style, while reflecting the broader Baroque tendencies of the age—richness in texture, dynamic (though often subtly so in English portraiture) compositions, and an interest in the play of light and shadow—retained a distinct English sensibility.
Hayls' Artistic Style and Signature Works
John Hayls was recognized for his "精湛的绘画技艺" (superb painting skill). His portraits are characterized by a careful attention to detail, particularly in rendering the textures of fabrics—velvets, silks, and lace—and the specific features of his sitters. He often employed dark or relatively unadorned backgrounds, a common practice that served to throw the figure into greater prominence, allowing the viewer to focus on the personality and status conveyed through pose, costume, and facial expression. This approach aligns with the Baroque emphasis on drama and focus, albeit in a more restrained English manner compared to continental exuberance.
The most celebrated and frequently cited work by John Hayls is his portrait of Samuel Pepys, painted in 1666. This iconic image, now housed in the National Portrait Gallery, London, is invaluable not only as a work of art but also due to its association with Pepys, whose famous diary provides an unparalleled window into 17th-century life. Pepys, a naval administrator, Member of Parliament, and an avid lover of music, theatre, and the arts, commissioned the portrait and documented the sittings in his diary with characteristic candour and enthusiasm. He records being "mightily pleased" with Hayls's work. The portrait depicts Pepys in a thoughtful pose, holding a piece of music he composed, "Beauty Retire," signifying his cultural accomplishments. The rich brown silk Indian gown he wears was a fashionable item of informal attire for gentlemen of the period. Hayls captures a sense of intellectual depth and quiet confidence in his sitter.
Beyond the Pepys commission, Hayls also undertook significant work for the Russell family, with these portraits being preserved at Woburn Abbey. Such commissions from prominent aristocratic families underscore his standing in the art world of his time. These works would have further solidified his reputation for producing high-quality, dignified likenesses that met the expectations of a discerning clientele. While perhaps not as prolific or as universally famed as Lely, Hayls carved out a significant niche for himself.
A Competitive Landscape: Hayls and His Contemporaries
The art scene in Restoration London was vibrant and competitive. As mentioned, Sir Peter Lely (born Pieter van der Faes) was the dominant figure. Having arrived from Holland in the 1640s, Lely astutely navigated the political changes and, by the Restoration, had become Principal Painter to King Charles II. His studio was a veritable factory, producing numerous portraits characterized by a languid elegance, rich colours, and a certain flattering idealization, particularly in his famous "Windsor Beauties" series. Hayls was indeed a notable contemporary and, in a sense, a competitor to Lely. While Lely's output was vast and his style set the tone for courtly portraiture, Hayls offered a perhaps more direct, less overtly stylized approach that appealed to patrons like Pepys.
Other significant portraitists active during Hayls's career include John Michael Wright, a painter of Scottish origin who, unlike many of his contemporaries, was Roman Catholic. Wright had travelled extensively in Europe, including Rome, and his style often displayed a more sober realism and a meticulous attention to heraldic detail and costume, distinct from Lely's sensuousness. His portrait of King Charles II (1671-76) in parliamentary robes is a masterpiece of ceremonial portraiture.
Gerard Soest (or Zoust) was another painter of Dutch origin active in England from the 1640s until his death in 1681. He was known for his strong characterizations, particularly of men, and was admired by his fellow artists, though he reportedly had a difficult temperament that sometimes hindered his patronage. His portraits often possess a rugged honesty.
The period also saw the emergence of notable female artists, such as Mary Beale. Supported by her husband Charles, who acted as her studio manager and colourman, Mary Beale ran a successful professional portrait practice. Her work is characterized by its warmth and sensitivity, often depicting her family and friends as well as commissioned sitters. She was a contemporary of Hayls and Lely and navigated the same art market.
Later in Hayls's career, the German-born Godfrey Kneller would arrive in England (in the mid-1670s) and eventually succeed Lely as the leading court painter, dominating English portraiture into the early 18th century. While Hayls's death in 1679 meant their overlap was brief, Kneller's arrival marked the next major shift in English portrait painting.
The influence of earlier Dutch masters like Rembrandt van Rijn and Frans Hals, though perhaps indirect, permeated European art. Their innovations in capturing psychological depth (Rembrandt) and conveying lively immediacy (Hals) set new standards for portraiture. While English portraiture developed its own distinct characteristics, the cross-channel artistic exchanges were significant. Similarly, Flemish artists like Jacob Jordaens, a contemporary of Rubens and Van Dyck, continued the robust traditions of Antwerp, though their direct impact on English painters of Hayls's generation was less pronounced than Van Dyck's. In France, painters like Philippe de Champaigne were creating portraits of austere dignity, reflecting a different cultural and religious context. One might also consider the work of Dutch genre and portrait painters like Gerard ter Borch or Bartholomeus van der Helst whose meticulous rendering of textures and social settings found echoes in the detailed approach of some English painters.
Anecdotes, Personal Life, and Intellectual Pursuits
The life of an artist in the 17th century was often intertwined with the broader social and intellectual currents of the time, and John Hayls appears to be no exception.
His relationship with Samuel Pepys offers one of the most vivid glimpses into his professional interactions. Pepys's diary entries concerning the portrait sittings reveal a client deeply engaged with the artistic process. On March 17, 1666, Pepys wrote, "to Hales’s, and there sat till almost quite dark upon working my gowne, which I hired to be drawn in; an Indian gowne." He further notes on March 30, "To Hales’s, and my father’s picture was not yet done, but myne is, and I do mightily like it." Pepys even mentions Hayls's admiration for his wife, Elizabeth Pepys, and his desire to paint her, which he eventually did. These interactions paint a picture of Hayls as an amiable and respected professional. The anecdote of Pepys singing his song "Beauty Retire" while showing off Hayls's portrait highlights the diarist's pride in both his own artistic endeavors and the skill of the painter he commissioned.
The provided information notes a rivalry with "Nicholas Lely," which undoubtedly refers to Sir Peter Lely. Such rivalries were common in the competitive art world. Lely's overwhelming success and royal patronage would have made him a formidable figure. Hayls, by cultivating his own distinct qualities—perhaps a greater emphasis on individual characterization over fashionable idealization—managed to thrive alongside him. This dynamic speaks to a healthy diversity in the art market, where different styles and approaches could find appreciation.
Interestingly, Hayls is also mentioned in connection with advocacy for religious toleration and social liberalism. The 17th century in England was a period of intense religious strife, from the Laudian reforms and the Puritan revolution to the anxieties surrounding Catholicism and Dissent during the Restoration. The Act of Uniformity (1662) and subsequent Clarendon Code imposed strictures on Nonconformists. For an individual to advocate for religious toleration in such a climate was a significant, and potentially controversial, stance. This suggests Hayls was a man of thoughtful conviction, engaged with the pressing social and political issues of his day. His support for "social liberalism," while a modern term, likely points to a more open and progressive outlook on societal matters.
On a more personal note, Hayls's life was marked by family tragedy. It is stated that most of his children died in infancy, with only two surviving. Such high rates of child mortality were tragically common in the 17th century, but the repeated loss would undoubtedly have been a source of profound personal sorrow. How these personal griefs may have influenced his art or outlook is speculative, but it adds a poignant dimension to our understanding of the man behind the paintings.
Furthermore, Hayls was not merely a painter but also an art collector. He is noted for his collection of "fine prints of Italian and French architecture, churches, and ancient monuments." This interest in classical and continental art and architecture indicates a sophisticated artistic intellect and a desire to engage with the broader European cultural heritage. Such collections served not only as sources of inspiration and study for artists but also as marks of cultivation and learning. His collection would have been a valuable resource, reflecting a deep appreciation for the history of art and architecture beyond his immediate practice.
The Legacy of John Hayls
John Hayls died in 1679 in London. He was buried in St Martin-in-the-Fields, a church frequented by many artists of the period. While he may not have achieved the posthumous mega-fame of a Van Dyck or a Lely, his contributions to English portraiture are significant. His works provide valuable likenesses of individuals from a pivotal period in English history, rendered with a skill and sensitivity that command respect.
The survival of the Samuel Pepys portrait, and its intimate connection to Pepys's celebrated diary, has undoubtedly played a crucial role in keeping Hayls's name alive. It serves as a readily accessible and historically rich example of his talent. His portraits for the Russell family at Woburn Abbey also stand as testaments to his ability to satisfy the demands of aristocratic patronage.
In the broader narrative of 17th-century English art, Hayls represents the skilled professional painter who, while perhaps not a radical innovator, produced consistently high-quality work that captured the character of his sitters and reflected the aesthetic values of his time. He navigated a competitive art world, maintained a successful practice, and engaged with the intellectual and social issues of his era. His work, characterized by its careful execution and insightful portrayal, merits appreciation for its intrinsic artistic qualities and for the light it sheds on the faces and personalities of Restoration England.
Conclusion: A Respected Craftsman of His Age
John Hayls emerges from the historical record as a talented and respected English portrait painter of the mid-17th century. Active during a period of immense change and artistic vibrancy, he carved out a successful career, creating memorable likenesses of key figures such as Samuel Pepys and members of the Russell family. His style, influenced by the prevailing Baroque trends but retaining a distinct English character, emphasized meticulous detail, skillful rendering of textures, and a thoughtful approach to capturing the individuality of his sitters.
While the precise details of his birth and early training remain somewhat obscure, his active career from around 1640 until his death in 1679 places him firmly within the artistic milieu that included giants like Sir Peter Lely, with whom he competed, and other notable contemporaries such as John Michael Wright and Mary Beale. Beyond his canvas, Hayls was a man of intellectual curiosity, an art collector, and an individual who engaged with the social and religious debates of his time, reportedly advocating for greater toleration. His personal life, marked by the common sorrows of high child mortality, adds a human dimension to the historical figure. John Hayls's legacy, anchored by his celebrated portrait of Samuel Pepys, endures as that of a fine craftsman whose work continues to offer valuable insights into the art and society of Restoration England.
