Leslie Hunter

Hunter was born in Rothesay, at 7 Tower Street, on the Isle of Bute on 7 August 1877. He was the youngest child of five, born to William and Jeanie (née Stewart) Hunter. George, as he was then known, showed an aptitude for drawing when very young and when he was about thirteen, his mother arranged for him to have painting lessons with a lady acquaintance.[4] In February 1892, Hunter's elder sister Catherine died. Shortly after, in March, another elder sibling, James, also died. Both were in their early twenties. It is thought they may have been victims of an influenza pandemic. William, the father, and Jeanie, seem already to have contemplated emigrating, because a home had been sold. Evidently, the tragic deaths sealed the matter, and the remaining family departed for California via New York on 1 September 1892, aboard the SS Ethiopia.[4]

Hunter was fifteen when he emigrated with his parents and two surviving siblings to California.[6] Initially, he lived with his family on an orange grove, 50 miles east of Los Angeles. He continued sketching and loved the climate, but showed little interest in farm management. Hunter began making a living in 1896, primarily as a newspaper and journal illustrator.[4][1] He mixed with significant literary figures such as Bret Harte and Jack London, who were associated with the San Francisco Bohemian Club. Hunter provided illustrations for Overland Monthly. In 1899, a full-page black and white drawing for Overland Monthly is signed G. Leslie Hunter, the first recorded occasion of his use of "Leslie." In 1902, Hunter became part of a group of artists that included Maynard Dixon and Arthur Putnam. They desired independence from the hierarchies of the establishment art world and, together, they formed the California Society of Arts as an alternative to the conservative San Francisco Art Association.[7] Clearly, Hunter had a completely different artistic exposure compared with others of the Scottish Colourists group, such as John Duncan Fergusson or Samuel John Peploe. Hunter was at this stage quite a successful American graphic artist, considering his young age. "Sunset, The Pacific Monthly", was another journal commissioning his work and altogether, Smith & Marriner[4] catalogue over two hundred publication and book illustrations commissioned from Hunter.

Figures in conversation, Étaples, one of the paintings from 1914 in which Hunter established his style

In 1904, Hunter made a visit to Paris, funded by his earnings as an illustrator. He was inspired by the numerous artistic experiences there, and became fully resolved to take up oil painting.[8][9] When he returned to San Francisco in 1905, he began preparing for his first solo exhibition, which was to be held the following year. However, Hunter's early work was destroyed in the fire that followed the 1906 San Francisco earthquake, and he returned to Scotland shortly afterwards, settling in Glasgow.[10] Initially he continued to make his living there primarily as an illustrator. His oil painting began with still lifes on black backgrounds, influenced by the Dutch style.[9]

In 1908, whilst back in Paris, Hunter met Alice Toklas, whom he had known previously in San Francisco.[4] She took him to see the art collection at 27 rue de Fleurus, that was being started by Gertrude Stein and her brother Leo Stein. The collection included wildly-coloured Fauve works by Matisse, and early works by Picasso. Toklas wrote that the pictures shocked Hunter profoundly, and he wished he had never gone to see the them. Nevertheless his consciousness had been jolted.[4]

Hunter began to achieve limited success after a trip to the Etaples art colony in northern France in 1914. Here, inspired by French art and the local landscape, he began to develop the style and ability that would later identify him as a colourist.[11] However, the onset of the First World War forced him to return to Scotland, where his work became noticed by Alexander Reid of Reid & Lefevre.[8][9] In 1915, Hunter held his first one-man exhibition with Reid in Glasgow.[12] Hunter's work at this stage of his career focused primarily on still lifes, inspired by Chardin, Kalf and Manet.[8] During the 1920s, Hunter began to be associated with a group of three other artists: John Duncan Fergusson, F. C. B. Cadell, and Samuel Peploe. The four of them became known as the Scottish Colourists, although the term was not used until 1948, by which time only Fergusson was still alive.[5]

In 1922, Hunter began to make a series of trips to mainland Europe, where he visited Paris, Venice, Florence and the Riviera. Fergusson accompanied him on a number of these visits.[6] Hunter's visits abroad produced a large number of paintings and his style changed noticeably in this period of European travel as he began using dabs of colour placed instinctively to portray underlying form.[13]

When Hunter returned from his first series of trips abroad, in 1922, he settled in Fife, on the east coast of Scotland and, between 1924 and 1927, he remained in Scotland, dividing his time between Fife and Glasgow.[13] His paintings from this period include a number inspired by views of Loch Lomond, and these landscapes increasingly took inspiration from the work of Cézanne to create colourful and atmospheric compositions.[1][12][13] In 1925, Hunter's work was displayed at an exhibition in Leicester Square in London, along with works by Peploe, Cadell and Fergusson. Walter Sickert, in his introduction to the exhibition, wrote that "Hunter uses the refractory ... to inspired ends on normal and traditional lines".[14]

Hunter travelled again to the South of France on a number of occasions between 1927 and 1929, and based himself at Saint-Paul-de-Vence. He sent paintings back to Reid to be exhibited in Glasgow and London, but he spent a great deal of time sketching and his output of finished oil paintings was low. One exhibition in London had to be postponed due to a lack of paintings.[13] The France trips culminated in 1929 with a critically acclaimed exhibition at the Ferargil Galleries in New York.[15]

However, shortly after returning to the French Riviera in 1929, Hunter suffered a severe breakdown, forcing his sister to bring him home to Scotland in September. He recovered, and began to paint a number of portraits of his friends, including one of Dr Tom Honeyman, the Director of the Glasgow Art Gallery and Museum from 1939 until 1954.[13][16] Honeyman, at the time an art dealer, had assisted Hunter in developing his career, and painting the portrait may have been a gesture of thanks.[17]

In 1930 he embarked upon a series of drawings and watercolours of Hyde Park, which were due to be exhibited in London. Hunter hoped to move to the city permanently, as he found it livelier than Glasgow and the art market was more secure.[1][15] However, his health deteriorated and he began to suffer badly from stomach pains.[15] He died in Glasgow in the Claremont Nursing Home on 7 December 1931, aged 54. The cause of death was cardiac failure due to blood poisoning, following an unsuccessful gall bladder operation.[4] A member of Glasgow Art Club, work by Hunter was included in the club's Memorial Exhibition of 1935, in memory of those of its members who had died since the First World War.[18]