DOCSLIB.ORG

Hopper Drawings PDF Book

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hopper Drawings PDF Book HOPPER DRAWINGS PDF, EPUB, EBOOK Edward Hopper | 48 pages | 01 Mar 1990 | Dover Publications Inc. | 9780486258546 | English | New York, United States Hopper Drawings PDF Book Hopper's parents encouraged him to study commercial illustration instead of fine art. Hopper's rural New England scenes, such as Gas , are no less meaningful. The pain of thinking about this choice and its consequences, after reading Plato all night, is evident. Goodreads helps you keep track of books you want to read. Lloyd Goodrich praised the work as "one of the most poignant and desolating pieces of realism. Hopper continued to be productive during the war years — at that time he worked on his most well known painting, Nighthawks During their marriage, his grim landscapes took on hotter, warmer tones. One of the most famous artists of the 20th century was Frida Kahlo. Gas represents "a different, equally clean, well- lighted refuge The exhibit comprised fifty oil paintings, thirty watercolors, and twelve prints, including the favorites Nighthawks , Chop Suey , and Lighthouse and Buildings. But, soon after, and even during this time period, he began losing critical favors. Main article: List of works by Edward Hopper. From that time on she became his primary model and most ardent supporter. Hopper's parents encouraged his art and kept him amply supplied with materials, instructional magazines, and illustrated books. This book presents 44 major Hopper drawings, executed in crayon, charcoal, pencil, and other primarily monochromatic media, most of them reproduced directly from originals in the museum's collection. Hopper's final oil painting, Two Comedians , painted one year before his death, focuses on his love of the theater. Related Topics:. Automat Edward Hopper Medium All. October 21, Originally Hopper intended to put figures in the upstairs windows but left them empty to heighten the feeling of desolation. Great art is the outward expression of an inner life of the artist, and this innerlife will result in his personal vision of the world. Clause, Bonnie Tocher. The following year, art patron Stephen Clark donated House by the Railroad to the Museum of Modern Art , the first oil painting that it acquired for its collection. Hopper was very productive through the s and early s, producing among many important works New York Movie , Girlie Show , Nighthawks , Hotel Lobby , and Morning in a City Subscribe to DailyArt Magazine newsletter Just enter your e-mail, and we'll let you know when there are interesting art history stories to read. At forty-one, Hopper received further recognition for his work. Her paintings had hung next to those of Picasso, Modigliani and Man Ray. Start your review of Hopper Drawings. They were opposites: she was short, open, gregarious, sociable, and liberal, while he was tall, secretive, shy, quiet, introspective, and conservative. Then you need this portable touchscreen in your home workspace. Gregory Constantine. Wikipedia: en. Namespaces Article Talk. Hopper, however, later maintained that when he was in Paris he never heard of Picasso, who was to become so important for the development of modern literature. Zainab Humayun marked it as to-read Feb 27, The artist was not prolific, painting just canvases; during the s, when he was in his 70s, he produced approximately five paintings a year. We forever see a certain type of house as a Hopper house, invested perhaps with a mystery that Hopper implanted in our own vision. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception. Both in his urban and rural scenes, his spare and finely calculated renderings reflected his personal vision of modern American life. Although he is best known for his oil paintings , Hopper initially achieved recognition for his watercolors and he also produced some commercially successful etchings. In developing his self-image and individualistic philosophy of life, Hopper was influenced by the writings of Ralph Waldo Emerson. Steven Brown added it Sep 05, His teachers there included the American Impressionist William Merritt Chase who founded the school and Robert Henri , a leading figure of the Ashcan school , whose proponents advocated depicting the grittier side of urban life. Original Title. Subject Hopper. Hopper Drawings Writer Phaidon Press. In , he took up printmaking, producing some 70 etchings and dry points over the next decade. Unlike past artists who painted the female nude to glorify the female form and to highlight female eroticism, Hopper's nudes are solitary women who are psychologically exposed. During the late s, however, he suffered a period of relative inactivity. To see what your friends thought of this book, please sign up. Collection All. The artist had demonstrated his ability to transfer his attraction to Parisian architecture to American urban and rural architecture. Born in Manhattan in , Josephine had a peripatetic, chaotic childhood. Name required. He continued to harbor bitterness about his career, later turning down appearances and awards. Related Artists. He painted the majority of the pure seascapes in the period between and on Monhegan Island. With Nivison's help, six of Hopper's Gloucester watercolors were admitted to an exhibit at the Brooklyn Museum in Open Preview See a Problem? Thor Wickstrom. He made three trips to Europe between and Jo Hopper confirmed that her husband intended the figures to suggest their taking their life's last bows together as husband and wife. Toggle Mobile Navigation Menu. Hopper's parents insisted that he study commercial art to have a reliable means of income. Books by Edward Hopper. To ask other readers questions about Hopper Drawings , please sign up. Return to Book Page. Hopper's parents insisted that he study commercial art to have a reliable means of income. Another of his teachers, artist Robert Henri , taught life class. At forty-one, Hopper received further recognition for his work. The diner's harsh electric light sets it apart from the dark night outside, enhancing the mood and subtle emotion. So Jo went to college — a feat for a young woman at that time — getting a teaching degree from the free Hunter College and acting in various small avant-garde troupes before enrolling in the New York School of Art. He always said that his favorite thing was painting sunlight on the side of a house. To establish the lighting of scenes in the film Road to Perdition , director Sam Mendes drew from the paintings of Hopper as a source of inspiration, particularly New York Movie. Colors All. Listen Now. Hopper particularly loved going to movies - his first documented visit to one was in Paris in This was namely due to the new forms of art, and the fact that abstract pieces were beginning to enter the art world, which took over the work he did, as well as the work of many famous artists prior to him. Cole Borders. The papers swooned. His highly identifiable style, and mature painting styles, were some things he had become known for during this period. Hopper Edward. His choices of subject matter - particularly the places he painted - seem to have been somewhat unpredictable, since they were part of his constant battle with the chronic boredom that often stifled his urge to paint. Hopper approaches Surrealism with Rooms by the Sea , where an open door gives a view of the ocean, without an apparent ladder or steps and no indication of a beach. Just a moment while we sign you in to your Goodreads account. Retrieved November 14, Though he never stopped painting, it would be 11 years before he sold another artwork. Slicing Up Eyeballs. But his vision of reality was a selective one, reflecting his own temperament in the empty cityscapes, landscapes, and isolated figures he chose to paint. He also started to travel further out, and visited regions from Vermont out to Charleston, in order to add more new points of interest to his collection, and to broaden the works and the locations which he would include in many of the images that he created over the course of his career. Nighthawks Edward Hopper Kranzfelder, Ivo. Hopper Drawings Reviews In him we have regained that sturdy American independence which Thomas Eakins gave us, but which for a time was lost. Steven Brown added it Sep 05, Josephine Nivison was an accomplished artist by the time she started dating Edward Hopper in He was one of two children of a comfortably well-to-do family. Read Next. Hopper's paintings have often been seen by others as having a narrative or thematic content that the artist may not have intended. Trivia About Hopper Drawings. George Segal - Retrieved August 2, Kimber Scott rated it really liked it Sep 05, Much meaning can be added to a painting by its title, but the titles of Hopper's paintings were sometimes chosen by others, or were selected by Hopper and his wife in a way that makes it unclear whether they have any real connection with the artist's meaning. During the early s his etchings began to receive public recognition. Hopper's other earliest oils such as Old ice pond at Nyack and his c. I always wanted to do myself. Girl at Sewing Machine. Strongly defined lighting, clearly defined lines, and cropped viewpoints, were some of the features which this artwork captured; and, this embodied the style in which Edward Hopper would use later on in his career, and with the future works that he would produce during the course of his career as an artist. February 10, Related Artists. Sorry, your blog cannot share posts by email. Her oeuvre included multi-disciplines: drawing, painting, monotypes, textiles, collage, and large-scale sculptures.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Edward Hopper, Landscape, and Literature
    Edward Hopper, Landscape, and Literature Gail LEVIN The art of Edward Hopper, the American realist painter, contains many clues that allow us to trace his interest in literature, which in turn helps to characterize his particular brand of realism. １） Signs of Hopper’s engagement with literature emerge already in his boyhood. Born in 1882, Hopper grew up in Nyack, New York, a town on the Hudson River, some forty miles north of New York City, where he went to attend art school and lived as an adult, until his death in 1967, shortly before his eighty-fifth birthday. Among the early indications that literature affected Hopper is a plaque that he designed for a Boys’ Yacht Club, which he formed together with three pals. Hopper designed this plaque with the names of the members’ boats. While the other boys chose female names that were upbeat and innocuous, Edward’s choice, Water Witch (Fig. 1), telegraphs an effect of reading on his imagination. He took the name for his boat from The Water- Witch, James Fenimore Cooper’s 1830 novel that tells how the “exploits, mysterious character, and daring of the Water-Witch, and of him who sailed her, were in that day, the frequent subjects of anger, admiration and surprise.... ” ２） His boyhood interest led Hopper to build not only a sailboat but a canoe. Later he would remark, “I thought at one time I’d like to be a naval architect because I am interested in boats, but I got to be a Fig. 1: Edward Hopper, Water Witch on painter instead.” ３） His interest in nautical life sign, Private Collection.
    [Show full text]
  • Rise of Modernism
    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
    [Show full text]
  • Nighthawks - Wikipedia, the Free Encyclopedia 10/10/15 15:20
    Nighthawks - Wikipedia, the free encyclopedia 10/10/15 15:20 Nighthawks From Wikipedia, the free encyclopedia This article is about the painting by Edward Hopper. For other uses, see Nighthawks (disambiguation). Nighthawks is a 1942 oil on canvas Nighthawks painting by Edward Hopper that portrays people in a downtown diner late at night. It is Hopper's most famous work[1] and is one of the most recognizable paintings in American art.[2][3] Within months of its completion, it was sold to the Art Institute of Chicago for $3,000[4] and has remained there ever since. Contents Artist Edward Hopper Year 1942 1 About the painting Type Oil on canvas 1.1 Josephine Hopper's Dimensions 84.1 cm ! 152.4 cm ( 1 in ! 60 in) notes on the painting 33 ⁄8 2 Ownership history 3 Searching for the location of Location Art Institute of Chicago, Chicago, Illinois the restaurant 4 In popular culture 4.1 Painting and sculpture 4.2 Literature 4.3 Film 4.4 Music 4.5 Television 4.6 Scale model 4.7 Parodies 5 References 6 External links About the painting Josephine Hopper's notes on the painting Starting shortly after their marriage in 1924, Edward Hopper and his wife Josephine (Jo) kept a journal in which he would, using a pencil, make a sketch-drawing of each of his paintings, along with a precise description of certain technical details. Jo Hopper would then add additional information about the theme of the painting. A review of the page on which Nighthawks is entered shows (in Edward Hopper's handwriting) that the https://en.wikipedia.org/wiki/Nighthawks Página 1 de 8 Nighthawks - Wikipedia, the free encyclopedia 10/10/15 15:20 intended name of the work was actually Night Hawks and that the painting was completed on January 21, 1942.
    [Show full text]
  • 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.
    [Show full text]
  • Ground Swell
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Edward Hopper American, 1882 - 1967 Ground Swell 1939 oil on canvas overall: 91.92 × 127.16 cm (36 3/16 × 50 1/16 in.) framed: 127.3 × 152.4 cm (50 1/8 × 60 in.) Inscription: lower right: EDWARD HOPPER; on reverse of frame: frame made for / Edward Hopper by / Carl Sandelin framemaker / 133 E 60th St NYC. Corcoran Collection (Museum Purchase, William A. Clark Fund) 2014.79.23 ENTRY In a vast expanse of open sea, a catboat heels gently to starboard as it navigates a course that has brought it close to a bell buoy. [1] Under feathery cirrus clouds and a brilliant blue sky, the boat’s three passengers and pilot gaze at, and presumably listen to, the buoy’s bell, which tilts toward them as it crests one of a sequence of rolling waves. Although Edward Hopper is renowned for lonely urban scenes that have led his work to be understood as emblematic of the mood of the modern city and the isolation of its inhabitants, he was also a dedicated painter of nautical subjects. Born in Nyack, New York, Hopper spent his formative years sketching the maritime industry of this bustling shipbuilding port on the Hudson River. [2] From 1930 onward, Hopper and his wife, Josephine “Jo” Nivison, whom he had met in art school, spent summers painting in Truro, Massachusetts, on Cape Cod. In 1934 they built a cottage in South Truro; Ground Swell was painted in the adjacent studio.
    [Show full text]
  • 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
    [Show full text]
  • Edward Hopper and the Discourse of Anti-Urbanism
    Social & Cultural Geography, Vol. 3, No. 2, 2002 Fear of the city 1882–1967: Edward Hopper and the discourse of anti-urbanism Tom Slater Department of Geography, King’s College London, Strand Campus, London WC2R 2LS, UK This paper traces the extent to which some of the major cityscape representations of the American ‘Realist’ painter, Edward Hopper, have contributed to the production and articulation of the discourse of anti-urbanism in American culture. Following an introduc- tory background to this discourse, the paper discusses the development of Realism in American art, and how the urban representations that emerged were a response to the rapidly changing, early twentieth-century American city. A brief biographical account of Edward Hopper is presented to explore the intertextual inuences behind his anti-urban sentiments, and how these translated into the unique form of Realism for which Hopper is renowned. This sets the stage for a reading of four key Hopper works that are suggestive of the anti-urban discourse: Night Shadows, Nighthawks, Approaching a City and Sunday. The powers of representation and the artist’s popularity have fed into the discourse of anti-urbanism—a discourse that has a material effect on urban life in America. Key words: discourse, anti-urbanism, cityscape, Edward Hopper, representation. Introduction The ‘celebrated thinkers’ to which they refer include Thomas Jefferson, Ralph Waldo Emer- But when in American history has there not been a son, Henry David Thoreau, Edgar Allan Poe, fear of the city … ? (Kazin
    [Show full text]
  • 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.
    [Show full text]
  • Artists in Hollywood: Thomas Hart Benton and Nathanael West Picture America’S Dream Dump
    9 Artists in Hollywood: Thomas Hart Benton and Nathanael West Picture America’s Dream Dump Erika Doss University of Notre Dame In the late 1930s two American artists, one a popular painter and the other a struggling novelist, depicted Hollywood in different yet related projects. Thomas Hart Benton’s mural-sized painting Hollywood (1937-38) was intended, the artist remarked, to show that the movie industry was “pre- dominantly an economically conditioned Art” (Color plate 1). As Benton wrote in “Hollywood Journey,” a short essay describing the month he spent sketching Southern California’s movie studios: The movie Art is not only a business but a busi- ness expression. It speaks in by and through the patterns of the American business mind. It is go-getter, optimistic, sentimental, politically conservative. It sings and clowns in Rotary Club fashion, and romances with a high regard for the status quo in everything. (Benton, “Hollywood Journey”).1 In his satirical novel The Day of the Locust (1939), Nathanael West similarly framed Tinseltown as an industry run by “damn good business men” who despite being “intellectual stumblebums” had a “strangle hold” over the movies. From its assembly-line production system to the orchestrated riots of its movie premieres, Hollywood’s “dream factory,” West elaborated, was determinedly—and destructively—a “picture business” (Locust 253, 255). Both artists were well aware of Hollywood’s preferred and repeat- edly self-promoted image as a “leisure utopia” of big-name stars and luxu- rious mansions (May, Screening 167). Likewise, both realized the popular and powerful national fantasy of “making it” in the movies as the pinnacle of the American Dream.
    [Show full text]
  • Due to Copyright Restrictions, This Image Is Only Available in the Print Version of Christian Reflection
    40 Virtual Lives Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Edward Hopper’s NEW YORK MOVIE creates an alternate reality that begins in the physical world of New York City but ends inside the soul of the viewer. Edward Hopper (1882-1967), NEW YORK MOVIE (1939). Oil on canvas. 36½” x 45”. New York, The Museum of Modern Art. Photo: © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY. Used by permission. Copyright © 2011 Center for Christian Ethics at Baylor University 41 The Field of Experience and Sensation BY HEIDI J. HORNIK ike many of Edward Hopper’s paintings, New York Movie (p. 40) and Sunlight in a Cafeteria (p. 43) appeal to a wide audience, evoking Lfrom viewers differing interpretations relevant to their experiences in America’s large cities. In essence, Hopper’s paintings create an alternate reality, a place that begins in the physical world of New York City but ends inside the soul of the individual viewer. The paintings touch a sensitivity within each of us that may elicit quite diverse thematic interpretations—of isolation and loneliness, or constructive solitude and meditative reflection— at different times in our lives. Edward Hopper was not born in the big city, but he spent a majority of his professional life working there. He is from my hometown, the small Hudson River town of Nyack, which is about thirty miles north of New York City. The house where he and his sister were born has never left the Hopper family.
    [Show full text]
  • 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.
    [Show full text]