Palmer C. Hayden (born Peyton Cole Hedgeman; January 15, 1890 – February 18, 1973) was an American painter who depicted African-American life, landscapes, seascapes, and African influences.

When Hayden decided his post office job took up too much of his time, he quit and began janitorial services in various apartment buildings throughout New York City.

Compelled by his cause, Dike provided him with a brochure from her church broadcasting The Harmon Foundation's Award for Distinguished Achievement, which encouraged individuals to participate and enter their pieces.

Hayden decided to enter and in 1926, he won a sum of money and a gold medal for his painting Schooners after being recognized as the recipient of the Distinguished Achievement in Visual Arts in the Harmon Foundation's first awards ceremony.

Following his achievements, Hayden combined accumulated funds, as well as his trophy money from The Harmon Foundation and a gracious gift of $3,000 from Dike, to travel to Paris, France for five years, where he found further inspiration for his art.

He was particularly fond of Concarneau, a small village primarily sustained by fishermen, and painted several scenes of the town, one of which being Andrée de la Mer.

Other art historians find some of the earliest indications of black empowerment in Hayden's work for his ownership and embracement of defining stereotypes that he regurgitated at critics through their exaggerated impact.

Additionally, as his comfort within the artistic community grew, he offered a political voice in his paintings, and in 1935, he depicted The Execution of NIRA,[10] which referenced the Supreme Court's refusal of the National Industrial Recovery Act on the grounds of unconstitutionality.

In this painting, an African-American woman, man, and child are depicted in a crowded area which is made even more stifled by a canvas, cleaning supplies, and simple home decoration.

All three are shown with thick, prominent lips, characteristic of caricatures of African people, and in the first draft, a bold portrait of Abraham Lincoln was hung on the wall.

The title of the painting, as well as the contrast of cleaning supplies and art material, imply a balance, such as the one that existed in Hayden's own life before he was recognized for his work.

Any other explanations for why Hayden felt so strongly about John Henry and the series as a whole are unclear and unspecified, but are most likely linked to his proud ties to the African-American community.

In his elder years, Hayden continued to be active with his art, regularly being selected for prestigious awards and traveling between Paris and the United States to fuel his inspiration.

[12] Racism remained a relevant topic in his life and art, leading him to publicly speak out against racist policies hindering the African-American and Hispanic communities.

An example of this was seen in 1966, when Hayden wrote to William Booth, the Chairman of the City Commission on Human Rights, regarding the advocacy for an equal number of African Americans, Latinos, and white people on the board to prevent mistreatment fueled by prejudice and power.