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Title: Boat In Sunset Medium: Oil on board Style: Impressionist Size: 22" x 18" Frame Size: 26" x 22" Age: 1940s Condition: Good, no damage seen good condition for its age. Artist: Palmer Cole (Hedgeman) Hayden (1890 - 1973) Palmer Cole (Hedgeman) Hayden was active/lived in New York, Maine / France. Palmer Hayden is known for figure, ethnic urban genre-view painting. Hayden was in Paris during the final years of the Harlem Renaissance of the 1920s, but he had lived in New York during the formative years of that pivotal period. He knew Harlem Renaissance artists and shared their efforts, triumphs, and frustrations. Hayden maintained close contact with the Harmon Foundation while in the United States, and exhibited annually in the Harmon Foundation shows from 1928 to 1932 when he was in Paris. Although Hayden received thorough academic training in New York, Maine, and Paris, his works always retained a flat naive character, which he developed independently during his youth. One of Hayden's best-known early works is Fétiche et Fleurs of 1926, which clearly linked Hayden with the African-Cubist tradition of Harlem and Paris. The small still-life composition depicts a vase of lilies, an ashtray, and a Gabonese Fang head on a table covered with a Kuba textile from Zaire. This painting was one of the earliest by an African-American artist to incorporate actual African imagery, and was awarded Mrs. John D. Rockefeller's prize for painting in the Harmon Show of 1933. Following his return from Paris in 1932, Hayden worked on the United States Treasury Art Project and the W.P.A. Art Project from 1934 to 1940, and painted scenes of the New York waterfront and other local subjects. During the late 1930s Hayden developed a consciously naive style, which represented various aspects of African-American life. One of the first paintings that heralded Hayden's new style was Midsummer Night in Harlem, 1938, in which he effectively evoked the mood of Harlem's residents congregating outside to escape the heat inside the tenements. Despite the flat forms and stylized figures, the compositional arrangement and treatment of perspective reveal Hayden's academic training. African-American art historian James Porter apparently misunderstood Hayden's objectives when he criticized Midsummer Night in Harlem as a talent gone astray," and compared the painting to "one of those billboards that once were plastered on public buildings to advertise black face minstrels." Hayden insisted, however, that he was not striving for satirical effects in his African-American folk paintings, but that he wanted to achieve a new type of expression. In 1944 Hayden began painting the Ballad of John Henry series that would occupy him for the next ten years. The series comprises a group of twelve paintings depicting scenes from the life of the legendary African-American folk hero who inspired the ballad named after him. An exhibition of these paintings and others dealing with African-American folklore was held at the Countee Cullen Library in Harlem in 1952. Hayden was also represented in the large exhibition, The Evolution of the Afro-American Artist, sponsored by the City University of New York, the Urban League, and the Harlem Cultural Council and presented in the fall of 1967 in the great hall of the City University. From the late 1960s until his death in 1973, Hayden continued to paint subjects based on African-American themes, but in a more cosmopolitan manner than his earlier works. Provenance: Collection from estate in New York