25 Edward Hopper Paintings

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25 Edward Hopper Paintings • What is the situation? • What is the person saying? • What is the person not saying now? • What is the person saying later? https://www.artrenewal.org/artists/edward-hopper/900 April 21/Studhalter Bernhard 1 Summer Evening by Edward Hopper April 21/Studhalter Bernhard 2 Cape Cod Evening by Edward Hopper, 1939 April 21/Studhalter Bernhard 3 Sunlight on Brownstones by Edward Hopper April 21/Studhalter Bernhard 4 Intermission by Edward Hopper, 1963 April 21/Studhalter Bernhard 5 New York Restaurant by Edward Hopper, 1922 April 21/Studhalter Bernhard 6 Conference at night by Edward Hopper April 21/Studhalter Bernhard 7 Summertime by Edward Hopper April 21/Studhalter Bernhard 8 Room in Brooklyn by Edward Hopper April 21/Studhalter Bernhard 9 Carolina Morning by Edward Hopper April 21/Studhalter Bernhard 10 People in the sun by Edward Hopper April 21/Studhalter Bernhard 11 Edward Hopper, Nighthawks [Nachtschwärmer] April 21/Studhalter Bernhard 12 Morning sun Edward Hopper, 1952 Huile sur toile 71,4 X 101,9 Ohio, Columbus Museum of art April 21/Studhalter Bernhard 13 Office at Night 1940, Öl auf Leinwand, 56,4 × 63,8 cm Fotos: Museum Ludwig April 21/Studhalter Bernhard 14 Office in a Small City by Edward Hopper, 1953 April 21/Studhalter Bernhard 15 Automat by Edward Hopper (1927) by Edward Hopper April 21/Studhalter Bernhard 16 Edward Hopper's 'New York Office' (1962). April 21/Studhalter Bernhard 17 'New York Movie' (1939) by Edward Hopper. April 21/Studhalter Bernhard 18 Room in New York by Edward Hopper, 1932 April 21/Studhalter Bernhard 19 Sunday by Edward Hopper April 21/Studhalter Bernhard 20 Western Motel by Edward Hopper April 21/Studhalter Bernhard 21 Hotel Lobby by Edward Hopper, 1943 April 21/Studhalter Bernhard 22 The Barber Shop by Edward Hopper April 21/Studhalter Bernhard 23 Le Bistro by Edward Hopper April 21/Studhalter Bernhard 24 Two on the aisle by Edward Hopper April 21/Studhalter Bernhard 25 Sheridan Theatre by Edward Hopper April 21/Studhalter Bernhard 26 .

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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.
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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.
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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
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Edward Hopper a Catalogue Raisonne
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European Journal of American Studies, 16-1 | 2021 the Empty Stage in Edward Hopper’S Early Sunday Morning, Girlie Show, and Two
European journal of American studies 16-1 | 2021 Spring 2021 The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians Philip Smith Electronic version URL: https://journals.openedition.org/ejas/16694 DOI: 10.4000/ejas.16694 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Philip Smith, “The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians”, European journal of American studies [Online], 16-1 | 2021, Online since 12 August 2021, connection on 12 August 2021. URL: http://journals.openedition.org/ejas/16694 ; DOI: https://doi.org/ 10.4000/ejas.16694 This text was automatically generated on 12 August 2021. Creative Commons License The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two... 1 The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians Philip Smith 1. Hopper and the Stage 1 An empty stage typically signals a moment of transition between the reality the audience occupies outside of the performance and their emersion into the representation of reality presented on the stage. An empty stage at the start of the performance is an invitation for the audience to examine the objects before them and anticipate the action to follow. An empty stage at the end of a performance is an invitation for the audience to reflect upon what they have just seen. This latter moment is captured in one of the most famous passages from The Tempest: Our revels now are ended. These our actors As I foretold you, were all spirits, and Are melted into air, into thin air; And like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea all which it inherit, shall dissolve; And, like this insubstantial pageant faded, Leave not a rack behind.
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Poets and Paintings March 22, 2013 Where Light Looks: Edward Hopper
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EDWARD HOPPER (HDA 3E)
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Edward Hopper's Urban Landscapes
© COPYRIGHT by Can Gulan 2014 ALL RIGHTS RESERVED To my mother, father, and aunt. I thank them for always supporting and believing in me. EDWARD HOPPER’S URBAN LANDSCAPES: MODERN EXPERIENCE AND ALIENATION BY Can Gulan ABSTRACT Edward Hopper’s works are generally associated with alienation, but the sources of this feeling are not studied extensively and in a comprehensive manner. Hopper’s representation of deserted and bleak cityscapes focus on loneliness and isolation of urban centers to create this feeling of alienation, which is supported by subtle depictions of dangerous possibilities at night. This alienating modern experience is also related to the transition from rural to urban areas and the resulting adjustment period while this transition creates tensions between nature and civilization in Hopper’s works. Hopper’s use of light is another alienating aspect of his works, especially in artificially lighted scenes. Hopper also focused on new voyeuristic possibilities of urban life and the way he represented these qualities created alienating experiences for the viewers. All these aspects of Hopper’s works are contributing to the feeling of alienation and they are all related to the modern experience. ii ACKNOWLEDGMENTS I would like to thank Dr. Helen Langa, who encouraged me throughout this process, helped me to better organize my arguments and supported my ideas with valuable feedbacks. I would also like to thank Dr. Juliet Bellow and Dr. Andrea Pearson for their contributions. Finally, I would like to thank all art history faculty and fellow graduate students of American University for the friendly and supportive atmosphere. iii TABLE OF CONTENTS ABSTRACT ...................................................................................................................................
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EDWARD HOPPER's BLACK SUN Arthur Kroker
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Edward Hopper September 16, 2007 - January 21, 2008
Updated Thursday, September 6, 2007 | 12:11:16 PM Last updated Thursday, September 6, 2007 Updated Thursday, September 6, 2007 | 12:11:16 PM National Gallery of Art, Press Ofﬁce 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Edward Hopper September 16, 2007 - January 21, 2008 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required(*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Catalog No. / File Name (If image available) | Caption (dimensions listed in centimeters followed by inches) Image File Name: 229-159.jpg Edward Hopper (1882 - 1967) American Landscape, 1920 etching on paper National Gallery of Art, Washington, Print Purchase Fund (Rosenwald Collection) and Ailsa Mellon Bruce Fund, 1979 File Name: 229-160.jpg Edward Hopper (1882 - 1967) East Side Interior, 1922 etching on paper, plate: 20 x 22.5 cm (7 7/8 x 8 7/8) National Gallery of Art, Washington, Rosenwald Collection, 1949 Edward Hopper (1882 - 1967) Evening Wind, 1921 etching on paper National Gallery of Art, Washington, Rosenwald Collection, 1943 Order images online at www.nga.gov/press Page 1 National Gallery of Art Press Office | Edward Hopper Catalog No.
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Summer 2020 Luxury Magazine
LUX URY MA GAZINE SUMMER 2020 Early Sunday Morning, 1930, oil on canvas, 35 3/16” x 60” An American Life One of the most celebrated artists of the 20th century, EDWARD HOPPER painted melancholic cityscapes and rural scenes imbued with loneliness and uncertainty—now eerily prescient. Digital image © Whitney Museum of American ArtDigital image © Whitney Scala / Art / Licensed by NY Resource, BY JASON EDWARD KAUFMAN 190 LM SUMMER 2020 LM SUMMER 2020 191 Self-Portrait, 1925–1930, oil on canvas, 25 3/8” x 20 3/8” Opposite, from top: South Carolina Morning, 1955, oil on canvas, 30 3/8” x 40 1/4” Lighthouse Hill, 1927, oil on canvas, 28 1/4” x 39 1/2” dward Hopper’s reputation is neither awe-inspiring nor picturesque, and Consider the psychological dimensions somewhat paradoxical. He emerged their occasional inhabitants tend to be bored of America, and the appeal of Hopper’s at a time when critics condemned cyphers rather than dynamic individuals. As work deepens. He is known as the painter Erepresentational painting and physical objects, the canvases are as modest of loneliness, representing the somber life promoted the innovations of abstraction, yet as their subject matter. Never monumental in of individuals absorbed in their own worlds. he remained a die-hard realist. scale, often subdued in tone, they are painted Even his unpopulated scenes are enshrouded Hopper’s life (1882–1967) spanned World in a sort of bland, straightforward manner, in an enigmatic stillness, as if time has paused War I, the Roaring Twenties, the Great devoid of overt virtuosity.
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Pardo Garcia2020.Pdf (13.56Mb)
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Hopper beyond the commonplace EDWARD HOPPER BEYOND THE COMMONPLACE. A review of his work under the light of Walter Benjamin´s concept of poverty of experience. Ana Pardo García 1 Hopper beyond the commonplace Abstract The title of this dissertation —Edward Hopper beyond the commonplace— alludes to the fact that, although the work of Edward Hopper is widely acknowledged in the history of the twentieth century art, critical literature focused on it has resorted to a number of labels (Americanness, alienation, loneliness and the like) which, over time, have become clichés with very little critical insight and with very weak theoretical and visual foundations. My first aim is, therefore, to develop a different critical framework which is up to the task of analysing the indisputable visual relevance of Hopper’s work.
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