Edward Hopper
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Alienation in Edward Hopper's and Jackson Pollock's
ALIENATION IN EDWARD HOPPER’S AND JACKSON POLLOCK’S PAINTINGS: A COMPARISON AND CONTRAST A Thesis by Zohreh Dalirian Bachelor of Fine Arts, Shahed University, 2005 Submitted to the Department of Liberal Arts and Sciences and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts May 2010 © Copyright 2010 by Zohreh Dalirian All Rights Reserved ALIENATION IN EDWARD HOPPER’S AND JACKSON POLLOCK’S PAINTINGS: A COMPARISON AND CONTRAST The following faculty members have examined the final copy of this thesis for form and content, and recommend that it be accepted in partial fulfillment of the requirement for the degree of Master of Arts with a major in Liberal Studies. _________________________________ Dorothy Billings, Committee Chair _________________________________ David Soles, Committee Member __________________________________ Mary Sue Foster, Committee Member iii DEDICATION To my lovely mother, my dear husband, and the memory of my father. iv ACKNOWLEDGEMENTS I would like to extend my gratitude to committee chair, Dr. Dorothy Billings, for encouraging me to develop my ideas, and my advisor, Dr. Soles, who supported me during my degree program, and also Professor Foster for serving on my thesis committee and for her valuable comments. I am very grateful to my father, who passed away a few days before my thesis defense, and my mother and my sisters for their impeccable help and support. Finally, I would like to express my exclusive appreciation to my beloved husband, Ruhola, who supported me from the beginning to the very end. v ABSTRACT In this thesis I study alienation in Edward Hopper’s and Jackson Pollack’s paintings. -
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). -
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. -
HOPPER 12 June to 16 September 2012 Curators: Tomàs Llorens and Didier Ottinger
HOPPER 12 June to 16 September 2012 Curators: Tomàs Llorens and Didier Ottinger The Museo Thyssen-Bornemisza and the Réunion des musées nationaux de France are presenting the exhibition Hopper, to be shown first in Madrid then in Paris. It brings together the largest and most ambitious selection of works by the US artist ever to be shown in Europe, with loans from major museums and institutions including the MoMA and the Metropolitan Museum in New York, the Museum of Fine Arts, Boston, the Addison Gallery of American Art, Andover, and the Pennsylvania Academy of Fine Arts, Philadelphia, in addition to various private collections and with a particularly generous loan from the Whitney Museum of American Art, New York. The latter is sending 14 works from the Bequest of Josephine N. Hopper, the artist’s wife. The exhibition has also benefited from the collaboration of the Terra Foundation for American Art. Within the context of Europe, Hopper is one of the best known and most highly appreciated American painters. Despite this, however, his works have only been seen here in public exhibitions on a limited number of occasions. With the aim of rectifying this situation and of bringing his work to the attention of a wider public, two major cultural institutions of particular importance for the artist and his work have joined forces. The Museo Thyssen-Bornemisza houses the most significant collection of Hopper’s works outside the United States, while in the case of the Réunion des musées nationaux, Paris and early 20th-century French painting were key reference points for the start of Hopper’s career. -
American Paintings, 1900–1945
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 American Paintings, 1900–1945 Published September 29, 2016 Generated September 29, 2016 To cite: Nancy Anderson, Charles Brock, Sarah Cash, Harry Cooper, Ruth Fine, Adam Greenhalgh, Sarah Greenough, Franklin Kelly, Dorothy Moss, Robert Torchia, Jennifer Wingate, American Paintings, 1900–1945, NGA Online Editions, http://purl.org/nga/collection/catalogue/american-paintings-1900-1945/2016-09-29 (accessed September 29, 2016). American Paintings, 1900–1945 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 CONTENTS 01 American Modernism and the National Gallery of Art 40 Notes to the Reader 46 Credits and Acknowledgments 50 Bellows, George 53 Blue Morning 62 Both Members of This Club 76 Club Night 95 Forty-two Kids 114 Little Girl in White (Queenie Burnett) 121 The Lone Tenement 130 New York 141 Bluemner, Oscar F. 144 Imagination 152 Bruce, Patrick Henry 154 Peinture/Nature Morte 164 Davis, Stuart 167 Multiple Views 176 Study for "Swing Landscape" 186 Douglas, Aaron 190 Into Bondage 203 The Judgment Day 221 Dove, Arthur 224 Moon 235 Space Divided by Line Motive Contents © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 244 Hartley, Marsden 248 The Aero 259 Berlin Abstraction 270 Maine Woods 278 Mount Katahdin, Maine 287 Henri, Robert 290 Snow in New York 299 Hopper, Edward 303 Cape Cod Evening 319 Ground Swell 336 Kent, Rockwell 340 Citadel 349 Kuniyoshi, Yasuo 352 Cows in Pasture 363 Marin, John 367 Grey Sea 374 The Written Sea 383 O'Keeffe, Georgia 386 Jack-in-Pulpit - No. -
Edward Hopper (1882 - 1967): Ut Pictura Poesis
Edward Hopper (1882 - 1967): Ut pictura poesis Autora: Patricia Tovar García Director: Jesús Pedro Lorente Lorente Grado en Historia del Arte. Facultad de Filosofía y Letras 2019/2020 0 ÍNDICE I. PRESENTACIÓN DEL TRABAJO ...................................................................... 3 1. Elección y justificación del tema ........................................................................ 3 2. Delimitación del tema y objetivos....................................................................... 3 3. Estado de la cuestión ............................................................................................ 4 4. Metodología aplicada ............................................................................................ 8 II. DESARROLLO ANALÍTICO ........................................................................... 9 1. Soledad y alienación ............................................................................................ 9 2. La narrativa en Hopper .................................................................................... 10 3. Estrategias narrativas ....................................................................................... 12 4. La verdad experimentada por la emoción del instante .................................. 13 5. Métodos de trabajo: ejecución y composición ................................................ 15 6. Análisis obras ..................................................................................................... 16 III. CONCLUSIONES ............................................................................................ -
Hopper's Cool: Modernism and Emotional Restraint
Hopper’s Cool Modernism and Emotional Restraint Erika Doss Edward Hopper remains one of America’s most celebrated modern artists. Contemporary exhibitions of his work are guaranteed blockbusters: the Whitney Museum of American Art’s 2010–11 survey Modern Life: Edward Hopper and His Time drew “enormously high crowds,” observes the curator Barbara Haskell.1 So did the Bowdoin College Museum of Art’s smaller 2011 show, Edward Hopper’s Maine. Attendance fgures in Europe have been astounding: in Madrid in 2012, a Hopper retrospective organized by the Museo Tyssen- Bornemisza was seen by 322,437 people, setting a museum record. Audiences in Paris waited up to four hours to enter the same exhibition when it traveled to the Grand Palais, where “Hopper mania” drove the museum to extend its run by fve days (with 24/7 acces- sibility during the last weekend) so that overfow crowds could view paintings such as Hotel Room (1931, frontispiece) and Nighthawks (see fg. 2). More than 784,000 people attended the exhibition in Paris, outstripping the numbers for the museum’s previously most popular show, Picasso and the Masters, in 2008–9.2 What accounts for Hopper’s widespread recognition today? Te scenes and subjects he painted, from isolated houses and industrial landscapes to fgures perched on beds in bleak hotel rooms or sitting silently in all-night diners, are unremarkable, even banal; his painting style is reserved. Tis essay argues that Hopper’s enduring appeal relates to his visualization of modern American feeling and, in particular, his navigation of an “emotional regime” that governed twentieth-century American life. -
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. -
Jutlandic Days E-Shop Selected by Asbjorn
Edward Hopper. Shop in the shop in my E-shop. Print on demand by Art.com Side 1 af 3 Jutlandic Days e-shop Selected by Asbjorn Lonvig Edward Hopper shop in the shop This store brought to you by Nighthawks Lighthouse at Two Lights Early Sunday Morning, Edward Hopper Rooms By the Sea 1930 New York Movie Edward Hopper Buy From Art.com Edward Hopper Edward Hopper Edward Hopper Buy From Art.com Buy From Art.com Buy From Art.com Buy From Art.com Room in New York Chop Suey Cape Cod Evening Approaching a city, 1946 Gas, 1940 Edward Hopper Edward Hopper Edward Hopper Edward Hopper Edward Hopper Buy From Art.com Buy From Art.com Buy From Art.com Buy From Art.com Buy From Art.com The Martha McKean of Lighthouse & The Sheridan Theatre, Summer Evening Wellfleet, 1944 Route 6, Eastham Buildings,Portland 1928 Edward Hopper Edward Hopper Edward Hopper Edward Hopper Edward Hopper Buy From Art.com Buy From Art.com Buy From Art.com Buy From Art.com Buy From Art.com House By the Railroad, Summertime Ground Swell, 1940 The Lee Shore 1925 Edward Hopper Edward Hopper Edward Hopper Edward Hopper Woman At Table Buy From Art.com Buy From Art.com Buy From Art.com Buy From Art.com Edward Hopper Buy From Art.com Martha McKean of The Long Leg Dawn in Pennsylvania Approaching a City Second Story Sunlight Wellfleet Edward Hopper Edward Hopper Edward Hopper Edward Hopper Edward Hopper Buy From Art.com Buy From Art.com Buy From Art.com Buy From Art.com Buy From Art.com This store brought to you by Ground Swell New York Office Drug Store New York Restaurant Edward Hopper Room In Brooklyn Edward Hopper Edward Hopper Edward Hopper Buy From Art.com Edward Hopper Buy From Art.com Buy From Art.com Buy From Art.com Buy From Art.com Ground Swell Hills, South Truro First Row Orchestra, 1951 Seven A.