Acclaimed portrait painter James Hayes, lives and works in London and paints exclusively from life. He prepares his own pigments and canvases, and the works that he produces are testament to his skill at mastering natural light

Having trained at the renowned Charles H. Cecil Studios in Florence James is able to immerse his sitters within the context of classical portraiture, whilst his unique eye ensures that portraits he creates always look firmly towards the future. I caught up with James to find out what inspires him, how he works and why portraits speak to him.

Portrait of Andrea Quaratesi, 1532 by Michelangleo. The British Museum, London.

How was your passion for art ignited? As a child I was always considered creative. In terms fostering my interest in art, I owe that to my art teacher at prep school, Annie Campbell.  She always made space and time for me to paint. From that period onward, it was always part of my life. 

Who are your biggest artistic influences? For me, no one does it better than Michelangelo in recent history, his command of form is exquisite, you’d have to go back to the Ancient Greeks to surpass him. Their pursuit of beauty, is a constant inspiration. 

At what time of the day are you most creative? If I had to choose my favourite time to paint, I’d say from 4pm until dusk, the crepuscular light towards the end of a day is magical. That said, I paint all day long.

Are you classically trained or self taught, how did you hone your skills? I was trained for 5 years at the Charles Cecil studios in Florence. It was a rigorous program, that involved drawing and painting from life daily. I ended up there aged 18, it consumed me, I loved every moment and never looked back. Friends were made and purpose found. 

A Young Gentleman 1911 - John Singer Sargent.

What is it about portraits that speak to you and why do you think that they are having a resurgence of interest in 2023? It’s the human connection for me, I love meeting, spending time with and getting to know people from all walks of life. Some of my closest friends have come from sittings. It’s a privilege to be able to spend considered time, at a slower place in the studio than the normal pace of life, and really get to know an individual. 

So much of our lives are fleeting, with the digital image, generally,  we point and shoot and think we’ve understood or captured the subject. I think people still recognise that a painting says something more about the subject. If you only ever paint a likeness you’ll fail every time. 

So I would like to have my portrait painted how do I begin? Firstly, you have to like the artist’s work, then simply ask the painter, it should be a rare occasion where an artist turns down work. I always see my work as a collaboration between myself and the sitter, it’s important to have a shared direction for the project.  

How many sitting on average does each subject attend? This very much depends on the scale, composition and complexity of the painting. 

How do you know when a work is finished? I’ve been painting for 20 years and I’m still yet to figure this out. Though often it is a case of inviting those who know the sitter best to offer critique and tell me when to draw a line under the project. 

Jena Hayes in his studio with muse Laura Searle. Image by Lydia Goldblatt.

What is your favourite period in art? I’d say from 1475 when Leonardo started making work to 1925 when Sargent died. There are prolonged chapters within this where I’m not so interested, but these two would make good bookends from me. 

I love your flower paintings, how did that begin? During lockdown one, when we really didn’t know what was going on with the world, sitters of course postponed their projects. I was sat twiddling my thumbs wondering what to paint when my girlfriend, now fiancée, brought home a floral arrangement and suggested I paint them whilst the studio could not host sitters. I enjoyed it so much I haven’t stopped painting them since. 

Which other contemporary artists inspire you? There is an excellent painter called Marc Dalessio. He predominantly paints landscapes. He has fantastic ability to capture anything that lays before him. He is aLao font of knowledge technically and very generous with sharing his painterly wisdom. 

Work in progress by James Hayes.

Landscape by Marc Delassio.

What is your ideal working environment? North light studio, partial cloud and a summer’s evening and of course someone sat in front of me.  

How useful (or not) is social media for you as an artist? It’s a super platform for being able to connect with artists all round the world, this has never so easily been possible before. It’s a jewel for inspiration, keeping current and seeing what other painters are up to. 

Where do you find inspiration?  There is beauty is all that surrounds us. It’s just a question making the everyday theatrical. I do believe you can make pictorial poetry of the mundane if you handle it properly. 

James at work in his studio.

What are you working on at the moment? I always have a selection of commissions on the go and when there is time, I fit in the personal projects. 

Where are you happiest?      In the studio with a blank canvas, they, at this stage have so much promise. Every morning I remind myself how privileged I am to be creating daily.

If you could ask one artist living (or not) just one question who and what would it be?                           I’d ask Damien Hirst… what’s the secret to his brilliance 😉 If he wasn’t available, I’d love to sit with Michelangelo, observe, be his runner boy, what ever it takes just to absorb some of his working practice. Just to witness true genius, it’s a rare thing. 

James Hayes self portrait which has been selected for The Royal Society of Portrait Painters 2023 annual exhibition at The Mall Galleries.

You can see more of his work here James Hayes or on instagram @jameshayesportraits

Nick Cox - July 2023.