at Brook Partners in Dallas. His paintings are in numerous collections, from the Metropolitan Museum of Art in New York to the Steve Wynn collection in Las Vegas. Reactions by critics New York Times critics have described his painting style as a "layered shapes in saturated colors" which were "vibrant, playful, semi-abstract landscapes" which "layers broad, richly colored shapes of trees, rivers and hills into funky, tautly frontal arcadian visions." Paintings had a "mix of Fauvism, Abstract Expressionism and outsider vision. Art critic John Goodrich of the New York Sun felt Hatton's paintings were less "real" in terms of factual description but they "contain their own peculiar truths, evident in keenly felt colors and designs." Goodrich felt Hatton "finds expression through his forms." Goodrich elaborated: Critic Ann Landi of ARTnews wrote there was "something endearingly anachronistic about Julian Hatton's abstractions" which had an "unbridled love of pure, hot color," and compared Hatton to Arthur Dove, Georgia O'Keeffe, Paul Gauguin and the Fauvres. Critic David Ebony in ArtNet in 1996 described Hatton's paintings: Ebony wrote in 2005 in Art in America that Hatton "experiments with complex and sometimes contradictory spatial relationships" and that his landscapes "consist of Cubist-inspired fractured planes and shifting, multiple perspectives." Critic Joel Silverstein in Reviewny.com suggested Hatton's paintings "sing to each other in a high key citron-like color" and compared him to Paul Gauguin, Miró and Hofmann. He described Hatton as a "lyrical designer" who "abstracts form by promoting visual attractiveness." Artist Barbara Rothenberg, who teaches art at the Silver Mine Guild Arts Center in New Canaan, Connecticut, and who follows Hatton's career, suggested that Hatton's works were becoming more "abandoned" and that the artist was taking greater "risks"; she likes Hatton's use of the color red. Critic Hovey Brock writing in The Brooklyn Rail described Hatton's paintings as having a "healthy self-confidence not only in his artistic process, but also in the very enterprise of abstract painting." Critic Peter Malone of Hyperallergic magazine described Hatton's 2019 show entitled Bewilderness as "vigorously overlapping perspectives are pulled into a unified whole made of delightfully unstable parts" that demonstrate a "copious gift for invention, expressed through witty references to flowers, trees, rivers, pathways, and other landscape elements." Awards and grants 1992–MacDowell Residency Fellowship 1993–National Endowment for the Arts, Washington, D.C. 1995–Rochefort-en-Terre, Art Colony Fellowship, Brittany, France 1998–New York Foundation for the Arts Fellowship in Painting 2001–Pollock-Krasner Grant in Painting