Where to See Charles Hayter

You can find examples of Charles Hayter's work in several prominent museums. In the United States, these include the Los Angeles County Museum of Art (LACMA); the Metropolitan Museum of Art in New York; the Minneapolis Institute of Arts; the Museum of Modern Art, also in New York; the Charles Hosmer Morse Museum of American Art in Winter Park, Florida; the Virginia Museum of Fine Arts in Richmond; and the Wolfsonian at Florida International University in Miami Beach. In the United Kingdom, you can view his pieces at the Victoria & Albert Museum in London; the Brighton Museum & Art Gallery; the Geffrye Museum in London; the Manchester Art Gallery; and the National Museums of Scotland, Royal Museum, in Edinburgh. There is also a Bakelite Museum in Williton that holds his works. Additionally, the Royal Ontario Museum in Toronto, Canada, has pieces by Hayter in its collection.

Fine-art etching became fashionable in the late 19th century. Specialist publications, such as *The Etcher* (1879-83) and *English Etchings* (1881-91), were devoted to the medium. The publisher Gambart hoped for an international print marketplace. By 1880, the Printsellers’ Association did not require etchers to declare the number of proof impressions, so edition sizes are not always known. The prints of Edward Burne-Jones are considered some of the finest examples of reproductive etching from this period. Burne-Jones thought engravings and mezzotints could even improve the ethereal qualities of some subjects. He embraced the copperplate engraving revival, along with etching, dry-point, and mezzotint, from 1880 onward. The plates wore down quickly and could not sustain large print runs. Plates were often destroyed after small editions of 200 to 400. Charles Albert was one of a series of continental engravers who worked with Burne-Jones.

Charles Hayter (1761^[1]-1835^[1]) was a British^[1] artist, teacher, and inventor. He is best known for his work on perspective and his invention of an improved version of an artist's aid called a "perspectograph". Hayter's *A New Practical Treatise on Three Dimensional Perspective* (1813^[1]) explained his system. It simplified the understanding and application of perspective principles for artists and students. His method used geometric diagrams and clear explanations, making perspective accessible to a wider audience. Hayter also created the "perspectograph", a mechanical device that aided artists in accurately depicting three-dimensional objects on a two-dimensional surface. His improved version of this device made it more practical and user-friendly. Today, Hayter's work is significant for several reasons. First, his treatise remains a valuable resource for artists and students learning perspective. Second, his perspectograph represents an important development in the history of art technology. Finally, his contributions highlight the intersection of art, science, and education in the 19th century.

Charles Hayter employed a range of techniques and materials in his bronze work. He often cast sculptures in separate sections, later welding them together. For this, he used an inverter TIG welder, favouring a gentle, "crocheting" technique to avoid tensions and porosity, especially when working with varied alloys. Silicon bronze welding rods were typical. Hayter often created his own bronze alloys from raw ingredients or recycled scrap metal, adjusting the melt as needed. He avoided zinc where possible, due to welding difficulties and health concerns. For detailed chasing, he preferred an alloy similar to those used in Renaissance cannons: 90 per cent copper and 10 per cent tin. For the casting process, Hayter used both gas furnaces and open charcoal hearths. The charcoal hearth allowed for greater control over temperature and atmosphere. He also experimented with investment materials, sometimes mixing historical recipes of clay and inert powders with ceramic shells. His waxes were also often homemade, combining beeswax, pine resin, and earth pigments. Patination was a similarly experimental process, involving multiple layers of different chemicals.

Charles Hayter's influence is complex. He attempted to revive the old masters’ teaching methods, but his students developed styles very different from his own. Hayter's impact can be understood through his contributions to art education and his advocacy for artists' rights. He championed the use of live models and promoted art education. He also advocated for government support of the arts, including commissioning artists to decorate the Houses of Parliament and establishing Schools of Design to improve British^[1] manufacturing. William Dyce, a painter and academic, was influenced by the quattrocento style, yet incorporated elements of contemporary naturalism. Dyce's work also showed German revivalist influences. Although some considered Hayter self-willed, his efforts helped shape the artistic climate of his time. Painters like Maclise and Arthur Hughes evidenced Hayter's example.

Charles Hayter began his career without a formal master. He sought guidance from the art of the past, copying Marcantonio Raimondi's engraving after Michelangelo's "The Battle of Pisa" while briefly suspended from his studies at Somerset House. Hayter was a proponent of the "grand style". He gathered a school around him, possibly because he felt the lack of a master in his own training. He had advanced theories of anatomical comparison and was considered a fascinating teacher. Hayter's influence also came from his contemporaries. He was active during a period when British^[1] artists were moving away from conventional artistic systems, seeking greater naturalism and daylight effects in their work. He admired many artists, but found few who stirred his complete sympathy or whose instruction he coveted. He sought the power to create art that would deeply resonate with people.

Charles Hayter (1761^[1]-1835^[1]) was best known for his instruction books on drawing and perspective. His *An Introduction to Perspective* (1813^[1]) reached a third edition by 1815. It presented the subject in a series of practical lessons, rather than mathematical theory. Hayter's *A New Practical Treatise on Three Primitive Colours Assumed as a Perfect System of Rudimentary Information* appeared in 1830. Hayter also worked as a portrait^[1] painter, mostly in the medium of crayon. He received an appointment as Professor of Perspective to Princess Charlotte. His son, Sir George Hayter, also became a noted painter, specialising in portraits and historical subjects. Although Charles Hayter exhibited at the Royal Academy, his instruction books, especially *An Introduction to Perspective*, are considered his most significant contribution. These books had considerable influence on art education in Britain during the early 19th century.

It is difficult to assign Charles Hayter to a single style or movement. He was active as an etcher, engraver and printmaker from the 1930s through the 1980s, a period encompassing several different artistic trends. Some scholars relate Hayter's approach to the methods of earlier engravers, such as Albrecht Dürer. Hayter, like Dürer, employed hatching techniques to define form. His brushwork has also been compared to that of Impressionist painters, due to its apparent freedom and vigour when viewed under magnification. Others place Hayter in relation to figures like Frans Hals and Gian Lorenzo Bernini, who sought to capture sitters in motion. These artists aimed to represent the sitter's vitality and personal qualities through depictions of movement and activity, rather than static poses. This connection is, however, tenuous. More information is needed to make a firm determination.