|This biography from the Archives of AskART:|
|Born in Nutley, New Jersey, Arthur Hoeber became a noted landscape
artist in Tonalist style, with simple composition, broad skyscapes, and
serene, quiet, poetic views often inspired by coastal scenery of Cape
Cod and Long Island. Luminism was a part of his painting style, with reflected
bright lights often appearing in his dramatic, panoramic cloud-filled
His paintings were sometimes referred to as "spare meditations" (Elliott), and usually his titles referenced the exact location of the work, the season or time of day. He also did figure and
genre subjects including peasants toiling in the fields when he was
painting in the French countryside.
As a young man, Hoeber did
much sketching and painting in watercolor, and later took evening
classes at Cooper Union in New York City and then the Art Students
League. One of his first teachers was James Carroll
Beckwith. In 1881, he went to England, having obtained a letter
of introduction from an actor, Lew Wallack to Wallack's brother-in-law,
the painter Sir John Millais.
At Millais's suggestion, Hoeber went to France, where he spent
five years as a student of Jean Leon Gerome, one of the foremost
historical painters of his era and a renowned teacher at the Ecole des
Beaux Arts. Hoeber also studied privately with Gustave
Courtois. From 1882 to 1885, he exhibited at the Paris Salon and
spent his summers painting in the countryside including at Pont Aven
and Concarneau. There, like many other American artists, he
painted landscapes and rural genre scenes with peasants.
Returning to New York City, he began to paint almost exclusively
landscape subjects. In 1892, he moved to Nutley, New Jersey,
close to New York, and did canvases reflecting the many tital wetlands
of the area. He also spent time painting in Hyannisport,
In the United States, exhibition venues included
The Pennsylvania Academy of the Fine Arts. For many years he
wrote art criticism for Harper's Weekly, The New York Times, and New York Globe.
Many of his themes referenced his disapproval of modernism and
avant-garde painters such as Max Weber and Henri Matisse. In
1912, a book he wrote was published, The Barbizon Painters: Being the Story of the Men of Thirty.
Carol Lowrey, "Arthur Hoeber", The Poetic Vision: American Tonalism, Exhibition catalogue of Spanierman Galleries, LLC, 2005, p. 142.
Susan Sipple Elliott, 'An American Collection', American Art Review, 6/1999, p. 104
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Arthur Hoeber is also mentioned in these AskART essays:
San Francisco Panama-Pacific Exhibition 1915