Rooms abundant with paintings, drawings and sculptures revealed one of Claremont’s best-kept secrets Saturday night with the opening reception of “James Hueter: A Retrospective.”
More than 100 art enthusiasts, spectators and supporters made their way through the Claremont Museum of Art to discover the rich artistic history of Hueter, a resident of Claremont since 1942.
“I knew he had an enormous catalog of work that had not been exposed to the public,” Steve Comba, guest curator said. “I wanted this exhibit to tell his story.”
Hueter’s earliest work, primarily landscapes, covered the museum walls upon entrance. Guests admired the works of oil on carved wood with architectural components, which were a trend in his very much hybrid art style.
Much of Hueter’s style was influenced by realist and still life painter Henry Lee McFee, his teacher and a prominent artist in the Claremont community in the 1940s.
Hueter also incorporated camouflage in his paintings, which can be attributed to his time spent in the army during World War II.
“Camouflage comes out in my work but that’s it,” Hueter said, who returned to Claremont after spending three years in Europe during WW II. “I only enlisted to play cops and robbers.”
While stationed overseas, Hueter said he had the luxury of studying art at universities in England and France.
After returning to Claremont in 1946 Hueter proceeded to earn his B.A. from Pomona College and by 1951 he earned his M.F.A. from the Claremont Graduate School.
It was during this time that Hueter began shifting his style from traditional still life art to the human figure.
The “Walking Girl” sculpture planted in the center of the exhibition claimed significant attention as guests stared in awe at the six-foot split structure.
“This sculpture is different from the rest,” Dominique Garcia, museum volunteer, said. “I like the duality of the split body.”
Pieces of art less massive in scale also incorporated the human figure with a seemingly simpler pencil-on-paper approach.
Repetitive vertical strokes with applied pressure resulted in faces and torsos appearing to emerge from the fog.
Although the human figure design became Hueter’s most prominent artistic concept throughout his work, he does not have any favorites.
“I value particular elements of certain pieces, but I cannot choose a favorite,” Hueter said. “I feel strongly about everything.”
In the early 1970s Hueter further explored the depths of the human figure in his paintings by incorporating glass and mirrors.
One can see their own reflection when looking at these paintings which contributes to the element of the human image.
In addition to art displayed in the exhibit, a documentary film based on Hueter played in an intimate corner setting, where guests could experience the story of the man behind the art in a different way.
The film was directed, produced and filmed by Hueter’s 16-year old grandson, James Schenck.
The “Retrospective” exhibit was four years in the making and proved to be well worth the wait as guests discovered art that few have ever seen.
“He [Huerter] is a great example of an artist’s artist,” Comba said. “His paintings don’t fit a specific category and the Claremont museum provides a venue for artists like him.”
“James Hueter: A Retrospective” will run until May 3. The gallery is open Wednesday through Sunday from 11 a.m. to 5 p.m.
For more information, visit claremontmuseum.org.
Mark Vidal can be reached at mark.vidal@laverne.edu.
