Clarence Hinkle
Born(1880-06-19)June 19, 1880
Auburn, California, U.S.
DiedJuly 21, 1960(1960-07-21) (aged 80)
Santa Barbara, California, U.S.
Alma materSan Francisco Art Institute
Art Students League of New York
Pennsylvania Academy of the Fine Arts
Académie Julian
OccupationPainter
MovementPost-Impressionism
SpouseMabel Bain Hinkle

Clarence Keiser Hinkle was born in Auburn, California on June 19, 1880 and died July 21, 1960. Hinkle was an American painter and art educator. His art studio was in Laguna Beach, California and later in Santa Barbara, California.[1]

About

Early life and education

At age 18 he studied at Crocker Art Gallery under painter William Franklin Jackson.[2][3][1] By 1900, he moved to San Francisco to study at San Francisco Art Institute (then known as California School of Design) with Arthur Frank Mathews.[2] From 1901 until 1903, he enrolled in the Art Students League of New York and studied under John Twachtman and William Merritt Chase.[2][4] From 1904 until 1906, he studied at Pennsylvania Academy of the Fine Arts in Philadelphia.[2]

In May 1906, he was awarded the Cresson Scholarship, a traveling scholarship to Paris for two years of travel, and he studied at the Académie Julian.[2][4][1] While studying in Paris, Hinkle was influenced by Impressionism and Pointillism.[4]

Career

From 1912 until 1917, Hinkle lived in San Francisco.[4] He moved to Los Angeles in 1917 and taught at Louise Elizabeth Garden MacLeod's Los Angeles School of Art and Design.[5] Hinkle later taught painting and drawing at the Chouinard Art Institute from 1921 until 1935.[6][2] His students included Millard Sheets and Phil Dike, among others.[2] He taught his students to experiment with their work, paint from nature, and use loose brushstrokes to capture the subject.[7] Hinkle had a wife, Mabel Bain and she had been a former student.[8]

He had an art studio in Laguna Beach, California from 1922 to 1935, and he was a member of the Laguna Beach Art Association.[9] Hinkle opened another studio in Santa Barbara, California in 1935.[10] He painted landscapes, still lifes and portraits.[9][4] Hinkle painted many coastal landscapes in the 1920s.[4] Initially while living in California Hinkle worked within Impressionist style, but eventually moved in to more of an expressionistic modernist style, he is also associated with Post-Impressionism.[4][5] Other early-Modernist in California include Rinaldo Cuneo, Ray Strong, and Charles Reiffel.[11]

Hinkle was a member of the Group of Eight, alongside artists Edouard Vysekal, Luvena Buchanan Vysekal, John Hubbard Rich, Henri De Kruif, Donna N. Schuster, E. Roscoe Shrader, and Mabel Alvarez.[12] This Group of Eight was organized largely by Luvena Buchanan Vyeskal and Edouard Vyeskal, and the group had a basis in the progressive art movement in California.[13]

Death and legacy

He died on July 21, 1960, in Santa Barbara, at age 80.[6][14] His wife Mabel donated one of his paintings to the Smithsonian American Art Museum posthumously.[15] More than a hundred of Hinkle's paintings were left by his estate to the University of Pacific, which were sold in 1986 to a single collector in Santa Barbara.[4]

His work was acquired by the San Diego Museum of Art, the Santa Barbara Museum of Art, the De Young Museum in San Francisco, and the Los Angeles County Museum of Art.[6][14]

In 2012, more than 114 of his paintings were exhibited at the Laguna Art Museum.[16]

Exhibitions

This is a select list of notable exhibitions that featured Hinkle.

Solo exhibitions

Group exhibitions

Further reading

References

  1. ^ a b c "Clarence Hinkle – Laguna Art Museum". Retrieved 2023-10-04.
  2. ^ a b c d e f g Blake, Janet (2012). ""In Love with Painting": The Life and Art of Clarence Hinkle". www.tfaoi.com. Retrieved 2020-07-21.
  3. ^ Kellenberg, Toni (2020-06-19). "Clarence Hinkle: 1880-1960". Laguna Plein Air Painters Association. Retrieved 2023-09-22.
  4. ^ a b c d e f g h Landauer, Susan; Gerdts, William H.; Trenton, Patricia (2003-11-10). The Not-So-Still Life: A Century of California Painting and Sculpture. University of California Press. pp. 49, 209. ISBN 978-0-520-23938-8.
  5. ^ a b Westphal, Ruth Lilly; DeLapp, Terry (1982). Plein Air Painters of California: The Southland. Westphal Publishing. pp. 11, 70. ISBN 978-0-9610520-0-3.
  6. ^ a b c "Santa Barbara Artist Dies". The Los Angeles Times. July 21, 1960. p. 50. Retrieved July 11, 2020 – via Newspapers.com.
  7. ^ Anderson, Susan Mary; Henning, Robert (1988). Regionalism: The California View, Watercolors, 1929-1945. Santa Barbara Museum of Art. p. 11. ISBN 978-0-89951-072-9.
  8. ^ Burlingame, Edward Livermore; Bridges, Robert; Dashiell, Alfred; Logan, Harlan (1939). Scribner's Magazine. Charles Scribner's Sons. p. 4.
  9. ^ a b Chang, Richard (June 19, 2012). "Laguna Art Museum presents painter Clarence Hinkle". Orange County Register. Retrieved July 24, 2020.
  10. ^ "Clarence Hinkle". Laguna Art Museum. Retrieved July 11, 2020.
  11. ^ a b Martin, Gloria Rexford; Gerdts, William H. (1996). A Painter's Paradise: Artists and the California landscape. Santa Barbara Museum of Art. pp. 39, 92. ISBN 978-0-89951-093-4.
  12. ^ California Southland. California Southland. 1920. p. 3.
  13. ^ Kirwin, Liza; Berman, Avis; Larsen, Susan C.; Karlstrom, Paul J. (1998). "Regional Reports". Archives of American Art Journal. 38 (3/4): 47–59. doi:10.1086/aaa.38.3_4.1557783. S2CID 222431752.
  14. ^ a b "Painter Dies". Redlands Daily Facts. July 21, 1960. p. 7. Retrieved July 11, 2020 – via Newspapers.com.
  15. ^ "Clarence K. Hinkle". Smithsonian American Art Museum. Retrieved July 24, 2020.
  16. ^ a b c Vittachi, Imran (May 31, 2012). "Laguna Art Museum to open concurrent exhibits". The Los Angeles Times. Retrieved July 24, 2020.
  17. ^ Warren, Beth Gates (2011). Artful Lives: Edward Weston, Margrethe Mather, and the Bohemians of Los Angeles. Getty Publications. p. 351. ISBN 978-1-60606-070-4.
  18. ^ "Harriette von Breton on Clarence Hinkle and William Rohrbach". Artforum magazine. November 1962. Retrieved 2020-07-25.
  19. ^ ArtUS magazine. Foundation for International Art Criticism. 2003. p. 7.

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