Los Angeles

Mentor Huebner

Cowie Wilshire Galleries

Huebner paints postcard views of Paris and Spain in a pleasantly accomplished manner derived from the Impressionist period (1886) of Van Gogh, and that as seen in bleached color reproductions. There are the patterned strokes, but held tidy, marking time in a fidgety way. There is the impasto, but oh so slight. There is a clarity of tenuous contours, but tamed to politeness. The illumination is an even grey, smacking of studio concoction. His pure hues pop to the surface, destroying whatever space the drawing and value-color manage to convey, while the illusionistic perspective smacks against a horizon line which refuses to budge from a formula measurement. The total effect is as boring as the same-size, machine surfaced, canvas boards he covers.

“With this background and a thorough command of his medium, Huebner was ready for Europe,” his folder proudly announces. One wonders why he did not remain at home and paint from reproductions; the timid results could hardly have differed. Coining a stylistic term, he falls into that category of master emulation and emasculation: Insidiousism.

Fidel A. Danieli