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Edward Hopper 26 January – 26 July 2020

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Edward Hopper 26 January – 26 July 2020 Media release Edward Hopper 26 January – 26 July 2020 Edward Hopper (1882–1967) is widely acknowledged as one of the most significant artists of the 20th century. In Europe, he is known mainly for his oil paintings of urban life scenes dating from the 1920s to 1960s, some of which have become highly popular images. Less attention has so far been paid to his landscapes. Surprisingly, no exhibition to date has dealt comprehensively with Hopper’s approach to American landscape. Initially until 17 May 2020, the Fondation Beyeler presents an extensive exhibition of iconic landscape paintings in oil as well as a selection of watercolors and drawings. This will also be the first time Hopper’s works are shown in an exhibition in German-speaking Switzerland. Hopper was born in Nyack, New York. After training as an illustrator, he studied painting at the New York School of Art until 1906. Next to German, French and Russian literature, the young artist found key reference points in painters such as Diego Velázquez, Francisco de Goya, Gustave Courbet and Édouard Manet. Although Hopper long worked mainly as an illustrator, his fame rests primarily on his oil paintings, which attest to his deep interest in color and his virtuosity in representing light and shadow. Moreover, on the basis of his observations Hopper was able to establish a personal aesthetics that has influenced not only painting but also popular culture, photography and film. The idea for this exhibition arose when Cape Ann Granite, a landscape painted by Edward Hopper in 1928, joined the collection of the Fondation Beyeler as a permanent loan. For several decades, the work belonged to the celebrated Rockefeller collection, and it dates from a time in which Hopper received growing attention from critics, curators and the public. In 1929, he was thus invited to take part in the Museum of Modern Art’s second exhibition, Paintings by Nineteen Living Americans. In the art-historical tradition, “landscape” signifies an image of nature as opposed to ever-changing actual “nature”, which as such cannot be fixed as an image. Landscape painting always shows the impact of man on nature and Hopper’s paintings reflect this in a subtle and multifaceted way. He thus established a distinctly modern approach to a time-honored genre of art history. Unlike academic tradition, Hopper’s landscapes seem unbounded; in one’s mind, they are infinite and always appear to be showing only a small part of an immense whole. Hopper’s American landscapes are geometrically clear compositions. Their main elements are houses, symbolizing human settlement. Railroad tracks structure the images horizontally and stand for man’s endeavor to conquer wide expanses of space. A vast sky as well as specific lighting moods − bright midday sunlight and the glimmer of dusk − illustrate the immensity and constant transformation of nature even in an actually static landscape painting. A lighthouse can thus become a point of reference in the vastness of the sea and the coastline. Hopper’s landscape paintings seem to deal with something invisible, occurring outside the image, as illustrated for example by Cape Cod Morning (1950): a woman is looking out from a bay window, her face bathed in sunlight, staring at something the viewer cannot see because it is located beyond the pictorial space. Hopper’s visible landscapes always have an invisible, subjective counterpart that appears inside the viewer. As is the case with all his paintings, Hopper’s landscapes are defined by melancholy and loneliness. They often convey a sense of eeriness and apprehension. Hopper also shows the sometimes brutal intrusion of man into nature by confronting natural and urban landscapes. Hopper played a major role in establishing the notion of a melancholy America, defined also by the dark sides of progress – a vast, unlimited space, which became immensely popular especially through its development in films such as Alfred Hitchcock’s North by Northwest (1959), Wim Wenders’ Paris, Texas (1984) or Kevin Costner’s Dances with Wolves (1990). As a special highlight, filmmaker Wim Wenders has produced a 3D short film entitled Two or Three Things I Know about Edward Hopper, screened in a dedicated room. The film is Wenders’ personal tribute to Edward Hopper, who made a lasting impression on him and influenced his cinematic work. He travelled across the USA on a quest for “Hopper’s spirit”, condensing the resulting footage into a film that will premiere at the exhibition’s opening. In a poetic and moving way, the film shows just how indebted cinema is to Edward Hopper as well as the extent to which Hopper was in turn influenced by movies. The exhibition comprises 65 works dating from 1909 to 1965. It is organized by the Fondation Beyeler in cooperation with the Whitney Museum of American Art, New York, the worldwide major repository of Hopper’s work. The exhibition is generously supported by: Beyeler-Stiftung Hansjörg Wyss, Wyss Foundation BNP Paribas Swiss Foundation LUMA Foundation Terra Foundation for American Art Press images available at www.fondationbeyeler.ch/en/media/press-images Further information: Silke Kellner-Mergenthaler Head of PR & Media Relations Tel. + 41 (0)61 645 97 21, [email protected], www.fondationbeyeler.ch Fondation Beyeler, Beyeler Museum AG, Baselstrasse 77, CH-4125 Riehen Fondation Beyeler opening hours: 10am to 6pm daily, Wednesday 10am to 8pm Edward Hopper 26 January – 17 May 2020 01 Edward Hopper 02 Edward Hopper Cape Cod Morning, 1950 Gas, 1940 Oil on canvas, 86.7 x 102.3 cm Oil on canvas, 66.7 x 102.2 cm Smithsonian American Art Museum, Gift of the Sara Roby Foundation The Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich Photo: Smithsonian American Art Museum, Gene Young Photo: © 2019 Digital image, The Museum of Modern Art, New York / Scala, Florence 03 Edward Hopper 04 Edward Hopper Railroad Sunset, 1929 Lighthouse Hill, 1927 Oil on canvas, 74.5 x 122.2 cm Oil on canvas, 73.8 x 102.2 cm Whitney Museum of American Art, New York; Josephine N. Hopper Bequest Dallas Museum of Art, gift of Mr. and Mrs. Maurice Purnell © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala Photo: Dallas Museum of Art, Photo by Brad Flowers Press images: www.fondationbeyeler.ch/en/media/press-images The visual material may be used solely for press purposes in connection with reporting on the exhibition. Reproduction is permitted only in connection with the current exhibition and for the period of its duration. Any other kind of use – in analogue or digital form – must be authorised by the copyright holder(s). Purely private use is excluded from that provision. Please use the captions given and the associated copyrights. We kindly request you to send us a complimentary copy. FONDATION BEYELER Edward Hopper 26 January – 17 May 2020 05 Edward Hopper 06 Edward Hopper Cape Ann Granite, 1928 Portrait of Orleans, 1950 Oil on canvas, 73.5 x 102.3 cm Oil on canvas, 66 x 101.6 cm Private Collection Fine Arts Museums of San Francisco, gift of Jerrold and June Kingsley © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich Photo: Christie's Photo: Randy Dodson, The Fine Arts Museums of San Francisco 07 Edward Hopper 08 Edward Hopper Lee Shore, 1941 Second Story Sunlight, 1960 Oil on canvas, 71.8 x 109.2 cm Oil on canvas, 102.1 x 127.3 cm Private collection Whitney Museum of American Art, New York; Purchase, with funds from © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich the Friends of the Whitney Museum of American Art Photo: © 2019. Photo Art Resource / Scala, Florence © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala Press images: www.fondationbeyeler.ch/en/media/press-images The visual material may be used solely for press purposes in connection with reporting on the exhibition. Reproduction is permitted only in connection with the current exhibition and for the period of its duration. Any other kind of use – in analogue or digital form – must be authorised by the copyright holder(s). Purely private use is excluded from that provision. Please use the captions given and the associated copyrights. We kindly request you to send us a complimentary copy. FONDATION BEYELER Edward Hopper 26 January – 17 May 2020 09 Edward Hopper 10 Edward Hopper Burly Cobb’s House, South Truro, 1930–1933 Cobb’s Barns, South Truro, 1930–1933 Oil on canvas, 64.1 x 92.1 cm Oil on canvas, 87.2 x 127.2 cm Whitney Museum of American Art, New York, Josephine N. Hopper Bequest Whitney Museum of American Art, New York, Josephine N. Hopper Bequest © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala 11 Edward Hopper 12 Edward Hopper Cobb’s Barns and Distant Houses, 1930–1933 Road and Houses, South Truro, 1930–1933 Oil on canvas, 74 x 109.5 cm Oil on canvas, 68.4 x 109.7 cm Whitney Museum of American Art, New York, Josephine N. Hopper Bequest Whitney Museum of American Art, New York, Josephine N. Hopper Bequest © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala Photo: © 2019.
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