The annals of art history are replete with figures whose contributions, though significant, may not always occupy the most prominent chapters. Howard L. Hill, an American artist active primarily in the 1930s, presents such a case. While details about his broader career remain somewhat elusive, his work, particularly the painting titled "Kenneth," offers a compelling window into the artistic currents and social undercurrents of his time. Understanding Hill requires piecing together fragments of information, contextualizing his known work within the vibrant and transformative art scene of early to mid-20th century America, and acknowledging the impact, however subtle, he had on contemporaries like Lee Krasner.
Navigating Identity: Howard L. Hill, Howard Lathrop, and Kenneth Hill
One of the initial complexities in approaching Howard L. Hill is the fluidity of names associated with him. Evidence suggests he was also known as Howard Lathrop, and perhaps even Kenneth Hill, the latter possibly being a nod to his most discussed artwork or a personal moniker. This multiplicity of names is not uncommon in artistic circles, where individuals might adopt pseudonyms for various personal or professional reasons. For the art historian, it necessitates careful cross-referencing to ensure that attributions and biographical details are correctly assigned. In the context of Hill, it seems "Howard L. Hill" and "Howard Lathrop" are the most consistently used identifiers for the artist behind the notable 1937 painting.
His American nationality is established, and his period of significant artistic activity appears to be centered around the 1930s, a decade of immense social, economic, and cultural upheaval in the United States. This era, framed by the Great Depression and the looming Second World War, fostered a rich and diverse artistic output, ranging from Social Realism and Regionalism to the burgeoning seeds of Abstract Expressionism. It is within this dynamic environment that Hill's work emerged.
The New York Art Scene in the 1930s: A Crucible of Innovation
To appreciate Howard L. Hill's contributions, one must consider the artistic milieu of New York City in the 1930s. It was a melting pot of European émigrés fleeing fascism, American artists seeking new forms of expression, and influential teachers and gallerists. Figures like Hans Hofmann were pivotal in introducing European modernist ideas to a new generation of American painters. Hofmann’s emphasis on "push and pull," color theory, and pictorial structure profoundly influenced many, including Lee Krasner, who would later become a significant Abstract Expressionist.
The period also saw the prominence of artists like Arshile Gorky, whose work bridged Surrealism and Abstract Expressionism, and Stuart Davis, who pioneered a uniquely American form of Cubism infused with jazz rhythms and urban imagery. Willem de Kooning was another emerging force, grappling with figuration and abstraction. Alongside these avant-garde explorations, Social Realism, championed by artists such as Ben Shahn and Philip Evergood, depicted the struggles of ordinary people, while Regionalists like Thomas Hart Benton and Grant Wood celebrated a more pastoral, often idealized, vision of American life.
The Works Progress Administration's Federal Art Project (WPA) provided crucial support for many artists during the Depression, fostering a sense of community and enabling the creation of public murals and easel paintings. This environment was one of intense debate, experimentation, and a search for an authentic American artistic voice. It was a time when artists were keenly aware of their social role and the power of art to reflect and comment on contemporary existence.
"Kenneth" (1937): A Bold Statement
Howard L. Hill's most frequently cited work is the 1937 painting titled "Kenneth." This piece is described as a portrait of a seated man, smoking, and is particularly noted for its "smoky texture" and a bold, arguably homoerotic, gaze. The depiction of masculinity in "Kenneth" was considered assertive and direct, pushing boundaries for its time. The "smoky texture" suggests a particular handling of paint, perhaps involving techniques like scumbling, glazing, or a muted palette that lends an atmospheric, slightly obscured quality to the image, enhancing its enigmatic feel.
The portrayal of a male figure in such a manner, with an undercurrent of sensuality and a direct, confident gaze, was not mainstream for the 1930s. While artists like Paul Cadmus were exploring overtly homoerotic themes in works like "The Fleet's In!" (1934), often courting controversy, Hill's "Kenneth" seems to have operated with a similar, if perhaps more subtly coded, charge. The painting’s power lay in its unapologetic presentation of its subject, challenging conventional notions of male portraiture. The very act of focusing on a male subject with such intensity and implied intimacy was a statement in itself.
The critical reception of "Kenneth" acknowledged its daring nature. Commentators of the era noted the strong expression of masculinity and the underlying sensuality, which likely sparked discussion and perhaps discomfort in some quarters. This willingness to engage with themes of male identity and desire places Hill within a lineage of artists who explored the male form and male relationships, a lineage that includes earlier figures like Marsden Hartley and Charles Demuth, and contemporaries such as George Platt Lynes, whose photography often celebrated the male nude with a classical yet modern sensibility.
Artistic Style: Masculinity, Texture, and Gaze
Based on descriptions of "Kenneth," Howard L. Hill's artistic style, at least in this particular work, was characterized by a potent combination of figurative representation and psychological depth. The emphasis on "smoky texture" points to a concern with the material qualities of paint and the creation of atmosphere. This could imply a departure from sharply defined academic realism, leaning towards a more expressive or impressionistic handling of the medium to convey mood and character.
The "strong expression of masculinity" is a key thematic concern. In the 1930s, representations of masculinity in American art were varied. Social Realists often depicted strong, working-class men, while Regionalists might portray rugged, salt-of-the-earth farmers. Hollywood, too, was shaping popular images of manhood. Hill's approach, as suggested by "Kenneth," seems to have been more personal and introspective, focusing on an individual presence that exuded a particular kind of confidence and allure.
The "homoerotic gaze" is perhaps the most discussed aspect of Hill's style in "Kenneth." This refers not just to the potential sexuality of the subject, but to the way the artist directs the viewer's eye and frames the subject, creating a charged interaction between the depicted figure, the artist, and the spectator. This element aligns Hill with other artists who subtly or overtly explored queer themes in their work, often navigating a fine line in a society that was largely unaccepting of such expressions. Artists like Jared French, another contemporary, also created figurative works with enigmatic and sometimes homoerotic undertones, often set within a framework of Magic Realism.
Influence and Connections: The Lee Krasner Link
One of the most intriguing aspects of Howard L. Hill's story is his noted influence on or connection to Lee Krasner. Krasner, a formidable artist in her own right and a key figure in the Abstract Expressionist movement (and wife of Jackson Pollock), was known for her rigorous intellect and her constant reinvention of her artistic style. The fact that critics of the time acknowledged Hill's impact on Krasner, describing her as a "vital" artist potentially in response to or in dialogue with Hill's work, is significant.
This connection suggests that Hill was part of the same artistic circles as Krasner, or at least that his work was visible and discussed among emerging avant-garde artists in New York. Krasner studied with Hans Hofmann and was deeply engaged with the development of abstraction. If Hill's figurative work, with its bold psychological and sensual charge, resonated with Krasner, it might have been in its intensity, its departure from convention, or its underlying emotional honesty – qualities that Krasner herself would explore in her abstract works.
The nature of this influence could have been manifold. Perhaps it was the boldness of Hill's thematic choices, his handling of paint, or simply the provocative nature of "Kenneth" that sparked a response in Krasner and her peers. Artists often draw inspiration from a wide range of sources, and a powerful figurative work could certainly inform the practice of an artist moving towards abstraction, particularly in its emotional weight or its challenge to existing norms. Other artists in Krasner's orbit, like John D. Graham, also explored mystical and symbolic figuration, which was part of the complex mix of influences leading to Abstract Expressionism.
Representative Works: Beyond "Kenneth"
While "Kenneth" stands as Howard L. Hill's most prominently discussed piece, the provided information also mentions "San Antonio" and "The Adventures of Robin Hood" as representative works. This is where a significant point of confusion arises in some historical accounts. Howard Hill, the celebrated archer (1899-1975), was indeed involved in Hollywood films, including "The Adventures of Robin Hood" (1938), where he performed the archery stunts, and he was connected to films with Western themes that might evoke "San Antonio."
It is crucial to distinguish Howard L. Hill, the painter of "Kenneth," from Howard Hill, the archer. The artistic style associated with "Kenneth"—the smoky texture, the focus on masculinity and homoeroticism—is entirely distinct from the world of cinematic archery. While it's possible the painter Howard L. Hill had other works, perhaps even with titles like "San Antonio" if he explored American regional themes, the strong association of these specific titles with the archer suggests a conflation in some records. For the art historian focusing on Howard L. Hill the painter, "Kenneth" remains the primary anchor and the most reliably attributed example of his specific artistic concerns. If other paintings by Howard L. Hill the artist exist, they are less documented in the readily available summaries.
The Challenge of Elusiveness and Historical Record
Howard L. Hill's career, beyond the notable impact of "Kenneth," is not as extensively documented as those of some of his more famous contemporaries like Pollock, de Kooning, or even Krasner. This is not unusual; art history often rediscovers artists whose work may have been influential in its time but was subsequently overshadowed. The active period mentioned in some sources, 1899-1922, seems to align more with the archer's early life and athletic prime rather than the painter of a 1937 artwork. The painter Howard L. Hill was clearly active and exhibiting, or at least his work was known, in the late 1930s.
The lack of a clearly defined "artistic school" or "movement" for Hill is also understandable. Many artists operate independently or bridge various styles. Given the description of "Kenneth," Hill's work seems to be a form of expressive figuration with modernist sensibilities, rather than fitting neatly into categories like Social Realism, Surrealism, or pure Abstraction. His focus was on the human figure and its psychological and sensual dimensions.
The art world of the 1930s and 40s was also a period where an artist's reputation could be built through inclusion in key group shows, relationships with influential critics or dealers (like Peggy Guggenheim, who championed many Abstract Expressionists, or Julien Levy, who was important for Surrealism), or teaching positions. Without more detailed biographical information, it's difficult to trace Hill's specific path through this landscape.
Artistic Anecdotes and Professional Relationships
The provided information does not offer specific "art world anecdotes" in the traditional sense – stories of colorful interactions, studio mishaps, or dramatic pronouncements by Howard L. Hill himself. However, the story of "Kenneth" and its reception—its boldness, its homoerotic charge, and its acknowledged influence on an artist like Lee Krasner—functions as a significant "anecdote" about the work's impact. It tells of a piece that did not pass unnoticed, that provoked thought and discussion, and that resonated within the artistic community.
Regarding relationships with other painters, the connection to Lee Krasner is the most clearly stated. To further contextualize Hill, one might consider other figurative painters active in New York at the time who explored psychological portraiture or themes of identity. Artists like Raphael Soyer or Moses Soyer, while often associated with Social Realism, also produced sensitive portraits. The aforementioned Paul Cadmus, Jared French, and George Tooker (though Tooker's major work is slightly later) formed a circle sometimes referred to as Magic Realists, often depicting the human figure in unsettling or psychologically charged ways. While direct collaboration or competition with these specific artists isn't documented for Hill, their contemporaneous activity provides a backdrop for understanding the kinds of figurative art being made.
One could also speculate about interactions with artists in the circle around the Art Students League or the National Academy of Design, traditional training grounds, or with those involved in WPA projects. The art world, especially in a concentrated hub like New York, was a network of studios, galleries, bars, and meeting places where ideas were exchanged and rivalries sometimes formed.
Evaluating Howard L. Hill's Impact in Art History
Howard L. Hill's primary impact on art history, based on current understanding, stems from the painting "Kenneth" and its specific qualities. Its contribution lies in its bold exploration of masculinity and homoeroticism within a figurative framework during a period when such themes were often suppressed or heavily coded. The painting served as a point of reference or a catalyst for other artists, notably Lee Krasner, suggesting its contemporary relevance.
His work can be seen as part of a broader current in American art that sought to represent the human condition with psychological honesty, even when that meant broaching uncomfortable or unconventional subjects. In this sense, Hill contributed to the diversification of artistic expression, pushing the boundaries of portraiture and figurative painting.
The "smoky texture" attributed to his style also indicates a concern for painterly quality and atmosphere, suggesting a sophisticated approach to the medium. While he may not have founded a school or led a movement, his work, as exemplified by "Kenneth," added a distinct voice to the chorus of American modernism. The very fact that his work is remembered for its impact on a major figure like Krasner ensures its place, however niche, in the narrative of 20th-century art.
Further research into exhibition records from the 1930s, critical reviews of the period, and the papers of his contemporaries might yield a more complete picture of Howard L. Hill's career, his body of work, and his interactions within the art community. Artists like him, who may have produced a smaller oeuvre or had a more focused period of impact, are vital to understanding the full complexity and richness of art history. They demonstrate that influence can be specific and targeted, and that a single powerful work can resonate through the years.
Conclusion: A Legacy of Provocation and Influence
Howard L. Hill, or Howard Lathrop, remains a somewhat enigmatic but intriguing figure in American art. Active in the 1930s, his painting "Kenneth" stands as a testament to his willingness to explore themes of masculinity and desire with a directness that was notable for its time. The work's "smoky texture" and "homoerotic gaze" captured attention and, significantly, were seen to have an influence on fellow artists like Lee Krasner, situating Hill within the dynamic artistic dialogues of New York Modernism.
While not associated with a major, named art movement, Hill's contribution lies in this specific, impactful work that challenged conventions and resonated within its contemporary art scene. He joins the ranks of artists such as Paul Cadmus, Marsden Hartley, Charles Demuth, Jared French, and George Platt Lynes, who, in their varied ways, explored the male figure and themes of identity and sexuality. His connection to the circle that included Lee Krasner, Hans Hofmann, Jackson Pollock, and Willem de Kooning, even if indirect, places him at the periphery of the crucible that forged Abstract Expressionism.
The story of Howard L. Hill underscores the importance of looking beyond the most famous names to appreciate the full tapestry of art history. His work, particularly "Kenneth," serves as a reminder of the bold artistic statements made during a transformative era, contributing to a more nuanced understanding of American modernism and the diverse voices that shaped it.
