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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. -
The Artforum Index: Volume I, Number 1, Through Volume VII, Number 4 June 1962 Through December 1968
The Artforum Index 1962-1968. New version. © by Laurence McGilvery 1970, 2002, 2009 1 The Artforum Index: Volume I, number 1, through volume VII, number 4 June 1962 through December 1968 The original edition of 1000 copies appeared 1 July 1970 as Artforum, 1962-1968: a cumulative index to the first six years, by Laurence McGilvery, La Jolla, California. This revised, free, on-line version is published 1 November 2009. CONTENTS INTRODUCTION ACKNOWLEDGMENTS NOTES to the first sixty-five issues INDEX A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, Y, Z © by Laurence McGilvery 1970, 2002, 2009 All rights reserved for printed, electronic, digital, or any other media The Artforum Index 1962-1968. New version. © by Laurence McGilvery 1970, 2002, 2009 2 INTRODUCTION BACKGROUND. The first, expanded, on-line version of The Artforum Index was prepared during the spring of 2002 and appeared almost exactly thirty-two years after its initial publication as Artforum, 1962-1968: a cumulative index to the first six volumes. It includes volume VII, numbers 1-4, September-December 1968. Coverage of Artforum by Art Index began with volume VII, number 5, January 1969. This further-revised, digital version, prepared during the fall of 2009, also is free. Nearly all abbreviations have been spelled out, and the speed of today’s computers allows a much simpler, faster interface for the reader. For the first on-line version, the TextBridge Pro 9.0 character-recognition program was used to scan the original printing master. -
This Copy of the Thesis Has Been Supplied on Condition That Anyone
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2014 A Reconsideration of the Interpretation and Analysis Typically Applied to Edward Hopper's Art During the 1940s Ulamoleka, Ana-Ciara Evelini http://hdl.handle.net/10026.1/3166 Plymouth University All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. A Reconsideration of the Interpretation and Analysis Typically Applied to Edward Hopper’s Art During the 1940s. by Ana-Ciara Evelini Ulamoleka 10265218 A thesis submitted to the University of Plymouth in partial fulfilment for the degree of Master of Research (MRes) in Art History School of Humanities & Performing Arts Faculty of Arts & Humanities August 2014 Ana-Ciara Evelini Ulamoleka A Reconsideration of the Interpretation and Analysis Typically Applied to Edward Hopper’s Art During the 1940s. Abstract This study aims to reframe the consideration and appreciation of Edward Hopper’s art focusing on the 1940s. The thesis proposes that Hopper should be categorised as a Modernist. -
EDWARD HOPPER in CRITICAL CONDITION by JAMES BARRY
EDWARD HOPPER IN CRITICAL CONDITION by JAMES BARRY BLEDSOE M.A., University of British Columbia, 1974 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Anthropology and Sociology We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA June, 1974 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that; the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department: or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of A«rfk fbp^l^'-j <=Pn£ Socjo/o^^ The University of British Columbia Vancouver 8, Canada Date August lj 1974 Abstract This thesis is about the relationship between an artist and his critics. It explores how critics develop ways of interpreting a painter's work which be• come established as the meaning of his paintings. Edward Hopper's paintings are basically ambiguous. They can be de• ciphered in a number of ways depending upon what set of interpretive procedures are used to unlock them. Therefore any consistency in the written description of his work can be looked upon as a perceived accomplishment of the critics. We have been taught how to interpret Hopper through the professional written analysis of the art critic or art historian.