The Window and the Void in the Work of Edward
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The Hopperville Express
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1989 Volume V: America as Myth The HopperVille Express Curriculum Unit 89.05.01 by Casey Cassidy This curriculum unit is designed to utilize Edward Hopper’s realistic 20th century paintings as a “vehicle” to transport middle school children from the hills and seasides of New England, through the metropolis of New York City, and across the plains of the western United States. As our unit continues along its journey, it will cross a timeline of approximately forty years which will serve to highlight technological improvements in transportation, changes in period attire, and various architectural styles. We will experience a sense of nostalgia as we view a growing spirit of nationalistic pride as we watch America grow, change, and move forward through the eyes of Edward Hopper. The strategies in this unit will encourage the youngsters to use various skills for learning. Each student will have the opportunity to read, to critically examine slides and lithographs of selected Hopper creations, to fully participate in teacherled discussions of these works of art, and to participate first hand as a commercial artist—i.e. they will be afforded an opportunity to go out into their community, traveling on foot or by car (as Edward Hopper did on countless occasions), to photograph or to sketch buildings, scenes, or structures similar to commonplace areas that Hopper painted himself. In this way, we hope to create a sense of the challenge facing every artist as they themselves seek to create their own masterpieces. Hopper was able “to portray the commonplace and make the ordinary poetic.”1 We hope our students will be able to understand these skills and to become familiar with the decisions, the inconveniences, and the obstacles of every artist as they ply their trade. -
With His Art and Legacies Edward Hopper
Güzel Sanatlar Fakültesi Dergisi, 2020, Cilt 2, Sayı 2, 173-184 WITH HIS ART AND LEGACIES EDWARD HOPPER Ufuk ÇETİN1 Abstract The works of Edward Hopper, one of the most important artists of America in the 20th century, are universal. Its impressive content is emotionally explained to the lives at the contemporary audience. He illustrates moments and more significantly, characters nearly every viewer can instantly know. There is no ambiguity inside Hopper’s works in a visual cultural way. He impacted lots of artists, photographers, filmmakers, set designers, dancers, writers, and his effect has touched many artists like Rothko, Segal and Oursler, who work with different mediums. He is an interesting artist in the way of impressing nearly all photographers from Arbus to Eggleston. Including Mendes, Lynch and Welles, generations have been inspired from Hopper’s dramatic viewpoints, lighting, and moods. His painting, “Residence by the Railroad” (1925) stimulated Alfred Hitchcock’s house in Psycho (1960) as well as that in Terrence Malick’s Days of Heaven (1978). This article introduces the artist with some examples of his personality and samples from his works. Hopper’s paintings are attractive to some writers and musicians. For instance, Tom Waits made an album known as “Nighthawks on the Diner”. Also, Madonna selected a name for a live performance tour after Hooper’s “Girlie Display”. Keywords: Painting, Edward Hopper, American art, landscape painting, visual culture. 1 Öğr. Gör. Dr. Tekirdağ Namık Kemal Üniversitesi, Çorlu Mühendislik Fakültesi, Bilgisayar Mühendisliği Bölümü, [email protected], https://orcid.org/0000-0001-5102-8183 174 Ufuk ÇETİN Sanatı ve Efsaneleriyle Edward Hopper Özet Amerika’nın 20. -
Edward Hopper's Adaptation of the American Sublime
Rhetoric and Redress: Edward Hopper‘s Adaptation of the American Sublime A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Fine Arts Rachael M. Crouch August 2007 This thesis titled Rhetoric and Redress: Edward Hopper’s Adaptation of the American Sublime by RACHAEL M. CROUCH has been approved for the School of Art and the College of Fine Arts by Jeannette Klein Assistant Professor of Art History Charles A. McWeeny Dean, College of Fine Arts Abstract CROUCH, RACHAEL M., M.F.A., August 2007, Art History Rhetoric and Redress: Hopper’s Adaptation of the American Sublime (80 pp.) Director of Thesis: Jeannette Klein The primary objective of this thesis is to introduce a new form of visual rhetoric called the “urban sublime.” The author identifies certain elements in the work of Edward Hopper that suggest a connection to earlier American landscape paintings, the pictorial conventions of which locate them within the discursive formation of the American Sublime. Further, the widespread and persistent recognition of Hopper’s images as unmistakably American, links them to the earlier landscapes on the basis of national identity construction. The thesis is comprised of four parts: First, the definitional and methodological assumptions of visual rhetoric will be addressed; part two includes an extensive discussion of the sublime and its discursive appropriation. Part three focuses on the American Sublime and its formative role in the construction of -
The Mind in Motion: Hopper's Women Through Sartre's Existential Freedom
Intercultural Communication Studies XXIV(1) 2015 WANG The Mind in Motion: Hopper’s Women through Sartre’s Existential Freedom Zhenping WANG University of Louisville, USA Abstract: This is a study of the cross-cultural influence of Jean-Paul Sartre on American painter Edward Hopper through an analysis of his women in solitude in his oil paintings, particularly the analysis of the mind in motion of these figures. Jean-Paul Sartre was a twentieth century French existentialist philosopher whose theory of existential freedom is regarded as a positive thought that provides human beings infinite possibilities to hope and to create. His philosophy to search for inner freedom of an individual was delivered to the US mainly through his three lecture visits to New York and other major cities and the translation by Hazel E. Barnes of his Being and Nothingness. Hopper is one of the finest painters of the twentieth-century America. He is a native New Yorker and an artist who is searching for himself through his painting. Hopper’s women figures are usually seated, standing, leaning forward toward the window, and all are looking deep out the window and deep into the sunlight. These women are in their introspection and solitude. These figures are usually posited alone, but they are not depicted as lonely. Being in outward solitude, they are allowed to enjoy the inward freedom to desire, to imagine, and to act. The dreaming, imagining, expecting are indications of women’s desires, which display their interior possibility or individual agency. This paper is an attempt to apply Sartre’s philosophy to see that these women’s individual agency determines their own identity, indicating the mind in motion. -
Quincy: Selected Paintings Anna Elston Donnelly Dickinson College
Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-27-2006 Quincy: Selected Paintings Anna Elston Donnelly Dickinson College Laura Davenport Hahn Dickinson College Susannah Katherine Jane Haworth Dickinson College Dorothy Paige Litz Dickinson College Cassie Laraine Lynott Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the American Art and Architecture Commons Recommended Citation Schlitt, Melinda, et al. Quincy: Selected Paintings. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2006. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Anna Elston Donnelly, Laura Davenport Hahn, Susannah Katherine Jane Haworth, Dorothy Paige Litz, Cassie Laraine Lynott, Rebecca Scott aM grane, Courtney Elizabeth Scally, Kristin Lynn Schmehl, Hilary M. Smith, Melinda Wilcox Schlitt, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/13 selected paintings selected paintings January 27 – March 11, 2006 Curated by: Anna Alston Donnelly Laura Hahn Susannah Haworth Dorothy Paige Litz Cassie Lynott Rebecca Magrane Courtney Scally Kristin Schmehl -
Reasons for Moving: Mark Strand on the Art of Edward Hopper1
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Viagens pela Palavra. provided by Repositório Aberto da Universidade Aberta 129 Reasons for Moving: Mark Strand on the Art of Edward Hopper1 Jeffrey Scott Childs Universidade Aberta Edward Hopper’s work has repeatedly been regarded by a range of critics as among the most significant productions of 20th century American art and has been discussed in connection with phenomena as diverse as French symbolism (both in poetry and painting), the work of Piet Mondrian and of the so-called ash can school, as well as viewed as a forerunner of both pop art and abstract expressionism. A recent exhibition at the Whitney Museum of American Art included several of Hopper’s paintings under the rubric of “Figurative Expressionism.”1 If this description is less than helpful in critically locating Hopper’s work, I hope it will suggest some of the complexities inherent in coming to terms with his art and encourage viewers to look at it from a variety of different perspectives, which, as I hope to show, is one of Hopper’s most significant projects. Mark Strand is the author of numerous works dating from his first volume of poetry, Sleeping with One Eye Open, published in 1964, to his most recent, Chicken, Shadow, Moon & More, published in 2000. Among these are translations of the poets Raphael Alberti and Carlos Drummond de Andrade, as well as books on painters, such as William Bailey, and painting (which he studied under Josef Albers at the Yale Art School from 1956 to 1959). -
American Realism: an Independence of Style the Ashcan School
AMERICAN REALISM: AN INDEPENDENCE OF STYLE THE ASHCAN SCHOOL Lecture 2 – The Spaces Between Us: The Art of Edward Hopper JAMES HILL – 4 MAY, 2021 READING LIST Michael Lewis American Art and Architecture, 2006, Thames & Hudson. Edward Lucie Smith American Realism, 1994, Thames & Hudson. Robert A Slaton Beauty in the City - The Ashcan School, 2017, Excelsior Editions. Colin Bailey et al The World of William Glackens - The C. Richard Art Lectures, 2011, Sansom Foundation/ Art Publishers. Gail Levin Edward Hopper – The Art and the Artist, 1981 – Whitney Museum of American Art/Norton Whitney. Rolf G Renner. Hopper, 2015 – Taschen. Judith A Barter et al America after the Fall - Painting in the 1930s, 2017, The Art Institute of Chicago/Yale University Press. SLIDE LIST Edward Hopper, Self Portrait, 1925, Whitney Museum of American Art, New York Edward Hopper, Caricature of Hopper as a Boy with Books on Freud and Jung, 1925-35, Private Collection. Edward Hopper, Night Shadows, 1928, Whitney Museum of American Art, New York Edward Hopper, Evening Wind, 1921, Whitney Museum of American Art, New York Edward Hopper, Summer Interior, 1909, Whitney Museum of American Art, New York Robert Henri, Blackwell’s Island, 1900, Whitney Museum of American Art, New York Edward Hopper, Blackwell’s Island, 1911, Whitney Museum of American Art, New York Edward Hopper, Louvre in a Thunderstorm, 1909, Whitney Museum of American Art, New York Edward Hopper, Soir Bleu, 1914, Whitney Museum of American Art, New York John Sloan, Hairdresser’s Window, 1907, Wadsworth -
Raymond Carver James Plath, Illinois Wesleyan University
Illinois Wesleyan University From the SelectedWorks of James Plath May 1, 2013 Critical Insights: Raymond Carver James Plath, Illinois Wesleyan University Available at: https://works.bepress.com/james_plath/3/ The Carver Triangle: Lost in an Edward Hopper World _____________ James Plath "Ray and I were aware from What We Talk About on ... of the simi larities between Hopper's tonal elements, his use of couples, the stripped down interiors and run-out-of-chances feel to some paintings-and Ray's stories."l Tess Gallagher Like the Bermuda Triangle where ships and planes purportedly disap pear, the oftentriangular structure of Raymond Carver's fictioncreates a restricted area-both temporally and spatially-where characters become or stay lost. Furthermore, the sense of helplessness and defla tion that the point-of-view characters feel is heightened by Carver's frequent manipulation of another triangle-Freytag'spyramid, which German theorist Gustav Freytag used to explain the structure of drama. At the base of this illustrative pyramid lies background exposition with a rising action that builds via a series of crises to an apex or climax, fol lowed by a falling action and a leveling off, or denouement.' As Carver explained to an interviewer, "Most of my stories start pretty near the end of the arc of the dramatic conflict"(Gentry and Stull 229). As such, Carver's fictioncan best be described as fiction of aftermath, since the main complications and rising action-even the climax of many sto ries-have already occurred before the narrative begins. His narrators are at a loss for words because they can't explain what recently hap pened to them or fighta malaise they're experiencing-an inescapable feeling of being trapped or down for the count. -
CLASS and SOCIETY
CLASS and SOCIETY: EARLY TWENTIETH-CENTURY AMERICAN REALISM and PHOTOGRAPHY: FOCUS (Regionalism, the Harlem Renaissance, and American Photography) ONLINE ASSIGNMENT: http://www.phillipscollection.org/r esearch/american_art/artwork/La wrence-Migration_Series1.htm TITLE or DESIGNATION: Migration of the Negro series ARTIST: Jacob Lawrence CULTURE or ART HISTORICAL PERIOD: Early American Modernism DATE: 1940-1941 C.E. MEDIUM: tempera on hardboard ONLINE ASSIGNMENT: http://smarthistory.khanac ademy.org/american- regionalism-grant-woods- american-gothic.html TITLE or DESIGNATION: American Gothic ARTIST: Grant Wood CULTURE or ART HISTORICAL PERIOD: American Regionalism DATE: 1930 C. E. MEDIUM: oil on beaverboard ONLINE ASSIGNMENT: http://smarthistory.khan academy.org/hoppers- nighthawks.html TITLE or DESIGNATION: Nighthawks ARTIST: Edward Hopper CULTURE or ART HISTORICAL PERIOD: Twentieth-Century American Realism DATE: 1942 C.E. MEDIUM: oil on canvas TITLE or DESIGNATION: Migrant Mother, Nipomo Valley ARTIST: Dorothea Lange CULTURE or ART HISTORICAL PERIOD: Twentieth-Century American Photography DATE: 1935 C. E. MEDIUM: gelatin silver print CLASS and SOCIETY: EARLY TWENTIETH-CENTURY AMERICAN REALISM and PHOTOGRAPHY: SELECTED TEXT (Regionalism, the Harlem Renaissance, and American Photography) EARLY TWENTIETH-CENTURY AMERICAN REALISM and PHOTOGRAPHY Online Links: Jacob Lawrence's Migration Series - Philiips Collection Hopper's Nighthawks – Smarthistory Grant Wood's American Gothic Grant Wood's American Gothic - Art Institute of Chicago Top Left: -
Edward Hopper a Catalogue Raisonne
Edward Hopper A Catalogue Raisonne Volume III Oils Gail Levin Whitney Museum of American Art, New York in associalion wilh W. W. Norton & Company, New York • London American Village, 1912 (0-183) City, The, ig27 (0-252) Index of Titles Apartment Houses, 1923 (0-242) City Hoofs, ig32 (0-288) [Apartment Houses, Harlem River], City Sunlight, 1954 (0-550) Oils c. 1930(0-275) [Clamdigger], 1^55(0-297) Approaching a City, 1946 (0-332) Coast Guard Station, 1929(0-267) Apres midi de Juin or L'apres midi de [Cobb's Barns und Distant Houses], 1930-35 Prinletnps, 1907 (0-143) (0-278) [Artist's Bedroom, NyackJ, c. 1905-06 [Cobb's Barns, South Truro], 1950-55 (0-122) (0-279) [Artist's Bedroom, Nyack, The], c. 1905- Compartment C, Car 293, 1938 (0-506) 06 (0-121) Conference at Night, ig4g (0-338) [Artist Sealed at Easel]', igo3~o6 (0-84) [Copy after Edouard Manet's Woman with August in the City, 1945 (0-329) a Parrot], c. 1902-03 (0-19) Automat, 1927 (0-251) CornBeltCity 1947 (0-554) Corn Hill, Truro, 1930 (0-272) [Back of Seated Male Nude Model], [Cottage and Fence], c. igo4-o6 (0-97) c. 1902-04 (0-28) [Cottage in Foliage], c. 1 go4-o6 (0-98) Barber Shop, 1931 (0-285) /Country Road], c. 1897 (0-4) /Bedroom], c. 1905-06 (0-124) Cove at Ogunquit, 1914 (0-193) Berge, La (0-171) Bistro, Le or The Wine Shop, 1909 (0-174) Dauphinee House, 1952 (0-286) [Blackhead, Monhegan], 1916-19 (0-220) Dawn Before Gettysburg, 1954 (0-295) [Blackhead, Monhegan], 1916-19 (0-221) Dawn in Pennsylvania, ig42 (0-323) [Blackhead, Monhegan], 1916-19 (0-222) [Don Quixote on Horseback], c. -
Edward Hopper’S (1882–1967) Most Admired Paint- Ings Are Night Scenes
any of Edward Hopper’s (1882–1967) most admired paint- ings are night scenes. An enthusiast of both movies and Mthe theater, he adapted the device of highlighting a scene against a dark background, providing the viewer with a sense of sit- ting in a darkened theater waiting for the drama to unfold. By staging his pictures in darkness, Hopper was able to illuminate the most important features while obscuring extraneous detail. The set- tings in Night Windows, Room in New York, Nighthawks, and other night compositions enhance the emotional content of the works — adding poignancy and suggestions of danger or uneasiness. EDWARD HOPPER by janet l. comey hours of darkness The Nyack, New York, born Hopper trained as an illustrator before transferring to the New York School of Art, where he studied under Ashcan School painter Robert Henri (1869–1929). Near the beginning of his career, he revealed an interest in night scenes. On his first trip to Europe in 1906–07, he was fascinated by Rembrandt’s Night Watch (1642) in the Rijksmuseum in Amsterdam; writing to his mother that the painting was “the most wonderful thing of [Rembrandt’s] I have seen, it’s past belief in its reality — it almost amounts to deception.” In several early paintings, Hopper depicted rooms and figures in moonlight. Thereafter, he showed scenes illuminated by artificial light. Painting darkness is technically demanding, and Hopper was con- stantly studying the effects of night light. Emerging from a Cape Cod restaurant one evening, he remarked upon observing some foliage lit by the restaurant window, “Do you notice how artificial trees look at night? Trees look like theater at night.”1 Contemporary critics recognized both the theatrical settings of Hopper’s paintings and the challenge of painting night scenes. -
THE WHITNEY to PRESENT HOPPER DRAWING the First In-Depth Study of the Artist’S Working Process
THE WHITNEY TO PRESENT HOPPER DRAWING The First In-Depth Study of the Artist’s Working Process Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 x 15 in. (28.3 x 38.1 cm) Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange 2011.65 © Heirs of Josephine N. Hopper, licensed by the Whitney Museum of American Art, New York NEW YORK, NY, FEBRUARY 21, 2013—This spring, the Whitney Museum celebrates Edward Hopper’s achievements as a draftsman in the first major museum exhibition to focus on the artist’s drawings and working process. Along with many of his most iconic paintings, the exhibition features more than 200 drawings, the most extensive presentation to date of Hopper’s achievement in this medium, pairing suites of preparatory studies and related works with such major oil paintings as New York Movie (1939), Office at Night (1940), Nighthawks (1942) and Morning in a City (1944). The show will be presented in the Museum’s third-floor Peter Norton Family Galleries from May 23 to October 6, before traveling to the Dallas Museum of Art from November 17, 2013 to February 6, 2014 and the Walker Art Center from March 15 to June 22, 2014. Culled from the Museum’s unparalleled collection of the artist’s work, and complemented by key loans, the show illuminates how the artist transformed ordinary subjects—an open road, a city street, an office space, a house, a bedroom—into extraordinary images.