Michael Hafftka

Michael Hafftka

Gather Here, 2021-2022

Acrylic on linen

140x120cm

Michael Hafftka

Angel on Earth, 2022

oil on linen

46x36cm

Michael Hafftka

Three Kings, 2022

Acrylic on linen

26x36cm

Michael Hafftka

Under the Surface, 2023

Watercolour, ink and crayons on handmade paper

56x76cm

Michael Hafftka

Never Alone, 2024

Watercolour, ink and crayons on handmade paper

56x76cm

Michael Hafftka

Fractured Self, 2025

Watercolors, ink & crayons on handmade paper

56x76cm

Michael Hafftka

Mother and Daughter’s Love, 2025

watercolors & ink on Barcham Green Hayle handmade paper

54x40cm

Bio

Michael Hafftka is a figurative expressionist painter based in Brooklyn, New York.

More than one hundred of his works are held in museum collections worldwide, including The Metropolitan Museum of Art, The Museum of Modern Art (MoMA), San Francisco Museum of Modern Art (SFMOMA), The British Museum, Carnegie Museum of Art, Museum of Fine Arts, Houston, and The National Gallery. He has exhibited widely, with highlights including an exhibition at MoMA and a retrospective of largescale paintings at the Housatonic Museum of Art. Hafftka’s work has been the subject of extensive critical attention, notably from art historian and curator Professor Sam Hunter and from John Caldwell, critic for The New York Times and curator at SFMOMA. His creative practice often intersects with literature; he has collaborated with prominent poets and writers such as William Gass and Tom Sleigh, with their joint works appearing in The Yale Review and Blackbird. His portrait of Philip Levine, U.S. Poet Laureate (2011–2012), is in the permanent collection of the Fresno Art Museum. Hafftka began painting in 1973. He describes his artistic philosophy as follows: “I paint the reality beneath the surface from an emotional point of view. I feel and render. I let go of the certainty of visual perception and create from a visceral experience. Painting requires of me a state of intentional open-mindedness that often brings doubts and insecurities—similar to what John Keats called ‘negative capability’—which I relish, despite the discomfort.”