Word: hayter
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Since war's end Whitehall has fielded a Round Table of diplomatic knights-Sir Harold Caccia, Sir William Hayter, Sir Con O'Neill, Sir Pierson Dixon, Sir Frank Roberts, among others-whose rare talents have been superbly supported by the smooth, articulate technicians of Whitehall. The government has not yet said when it will tear down the Foreign Office. Indeed, if it should change its mind and spare the old building, it could well argue that some of the world's wiliest diplomats have come from palazzos-if not from slums...
...Russian friends photographed him in the act one evening. It was not until Vassall was caught Red-handed with a Soviet officer that Russian secret police intervened and explained to him the gravity of his offense. When they threatened to show the compromising photographs to Lady Hayter, wife of the ambassador, Vassall agreed to provide them with the classified embassy documents they wanted...
...Hayter. now 60. started out to be a scientist rather than an artist. He graduated from London University with honors in chemistry, did research in organic sulphur compounds, worked in Iran for three years with an oil company. When he decided in his early 20s that he wanted to devote his life to art. he found his knowledge of chemistry enabled him to bring new techniques to the old, nearly moribund art of etching...
...Hayter experimented with substitutes for the wax. He tried using on a single plate various substances with different degrees of resistance to the acid. The acid, biting into the metal faster in one spot, more slowly in another, could produce complex and subtle effects not possible before. As the artist worked, the acid working on the copper would produce new images that as he observed them would excite his imagination...
...prints and paintings Hayter shuns surface reality for an internal image or mood. He starts a painting with some sort of bold weblike line which runs all through the canvas, suggesting as it goes interlocking fields of color, vibrant intersections, the feeling of movement and force. He may use only three colors in a painting, but the interlacing and crisscrossing give a sense of many more. In the end. the painting becomes a generalized statement of intangibles-the rush of water, the cool darkness of a forest, the silent chemistry of day dissolving into night...