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According to the Text Edward Hoppers Gas Depicts What Theme of Art?

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American realist painter and printmaker (1882 – 1967)

20th-century American painter

Edward Hopper
Photo of Edward Hopper.jpg
Born (1882-07-22)July 22, 1882

Nyack, New York, U.Southward.
Died May 15, 1967(1967-05-15) (aged 84)

Manhattan, New York, U.S.
Known for Painting

Notable work

 Automat (1927)
Chop Suey (1929)
Nighthawks (1942)
Function in a Pocket-size City (1953)
Movement Realism
Spouse(south)

Josephine Nivison

​

(m. 1924)​

Edward Hopper (July 22, 1882 – May fifteen, 1967) was an American realist painter and printmaker. While he is widely known for his oil paintings, he was as skillful as a watercolorist and printmaker in etching. His career benefited decisively from his marriage to fellow-artist Josephine Nivison, who contributed much to his piece of work, both equally a life-model and as a creative partner. Hopper was a minor-key artist, creating subdued drama out of commonplace subjects 'layered with a poetic meaning', inviting narrative interpretations, often unintended. He was praised for 'complete verity' in the America he portrayed.

Biography [edit]

Early life [edit]

Childhood abode of Edward Hopper in Nyack, New York

Hopper was born in 1882 in Nyack, New York, a yacht-building center on the Hudson River n of New York City.[1] [2] He was one of 2 children of a comfortably well-off family. His parents, of mostly Dutch ancestry, were Elizabeth Griffiths Smith and Garret Henry Hopper, a dry-goods merchant.[three] Although non as successful as his forebears, Garrett provided well for his 2 children with considerable help from his married woman's inheritance. He retired at age forty-9.[4] Edward and his only sister Marion attended both private and public schools. They were raised in a strict Baptist domicile.[five] His father had a mild nature, and the household was dominated by women: Hopper's mother, grandmother, sister, and maid.[half-dozen]

His birthplace and boyhood home was listed on the National Register of Historic Places in 2000. Information technology is now operated as the Edward Hopper House Fine art Center.[seven] It serves every bit a nonprofit community cultural center featuring exhibitions, workshops, lectures, performances, and special events.[8]

Vase (1893), example of Edward Hopper's earliest signed and dated artwork with attending to calorie-free and shadow.

Hopper was a expert student in grade school and showed talent in cartoon at age five. He readily absorbed his begetter'southward intellectual tendencies and love of French and Russian cultures. He as well demonstrated his mother's artistic heritage.[9] Hopper's parents encouraged his art and kept him amply supplied with materials, instructional magazines, and illustrated books. Hopper first began signing and dating his drawings at the age of ten. The earliest of these drawings include charcoal sketches of geometric shapes, including a vase, bowl, cup and boxes.[10] The detailed examination of low-cal and shadow which carried on throughout the remainder of his career can already be found in these early works.[10] By his teens, he was working in pen-and-ink, charcoal, watercolor, and oil—drawing from nature equally well equally making political cartoons.[11] In 1895, he created his get-go signed oil painting, Rowboat in Rocky Cove, which he copied from a reproduction in The Art Interchange, a popular journal for amateur artists. Hopper's other primeval oils such as One-time ice swimming at Nyack and his c.1898 painting Ships accept been identified equally copies of paintings by artists including Bruce Crane and Edward Moran.[12] [13]

In his early self-portraits, Hopper tended to represent himself as skinny, ungraceful, and homely. Though a tall and quiet teenager, his prankish sense of sense of humor found outlet in his art, sometimes in depictions of immigrants or of women dominating men in comic situations. Later in life, he mostly depicted women as the figures in his paintings.[fourteen] In high school (he graduated from Nyack High School in 1899),[15] he dreamed of being a naval architect, simply subsequently graduation he declared his intention to follow an art career. Hopper's parents insisted that he study commercial art to have a reliable ways of income.[xvi] In developing his self-image and individualistic philosophy of life, Hopper was influenced past the writings of Ralph Waldo Emerson. He later said, "I admire him profoundly...I read him over and over again."[17]

Hopper began art studies with a correspondence course in 1899. Soon he transferred to the New York School of Art and Blueprint, the forerunner of Parsons The New Schoolhouse for Design. There he studied for six years, with teachers including William Merritt Chase, who instructed him in oil painting.[16] Early on, Hopper modeled his mode after Chase and French Impressionist masters Édouard Manet and Edgar Degas.[18] Sketching from alive models proved a challenge and a shock for the conservatively raised Hopper.

Another of his teachers, creative person Robert Henri, taught life class. Henri encouraged his students to utilise their art to "brand a stir in the globe". He too brash his students, "Information technology isn't the subject field that counts merely what you experience about it" and "Forget about art and paint pictures of what interests you lot in life."[sixteen] In this way, Henri influenced Hopper, likewise as future artists George Bellows and Rockwell Kent. He encouraged them to imbue a modern spirit in their work. Some artists in Henri'south circle, including John Sloan, became members of "The 8", as well known every bit the Ashcan School of American Art.[xix] Hopper's offset surviving oil painting to hint at his employ of interiors as a theme was Alone Effigy in a Theater (c.1904).[20] During his student years, he also painted dozens of nudes, still life studies, landscapes, and portraits, including his cocky-portraits.[21]

In 1905, Hopper landed a function-time job with an advertising agency, where he created embrace designs for trade magazines.[22] Hopper came to detest illustration. He was bound to it by economic necessity until the mid-1920s.[23] He temporarily escaped by making 3 trips to Europe, each centered in Paris, ostensibly to report the art scene at that place. In fact, however, he studied alone and seemed mostly unaffected by the new currents in art. Later he said that he "didn't think having heard of Picasso at all".[19] He was highly impressed by Rembrandt, particularly his Dark Watch, which he said was "the most wonderful affair of his I have seen; it'southward past belief in its reality."[24]

Hopper began painting urban and architectural scenes in a night palette. Then he shifted to the lighter palette of the Impressionists before returning to the darker palette with which he was comfy. Hopper later said, "I got over that and later things done in Paris were more than the kind of things I exercise now."[25] Hopper spent much of his time drawing street and café scenes, and going to the theater and opera. Unlike many of his contemporaries who imitated the abstract cubist experiments, Hopper was attracted to realist art. Later, he admitted to no European influences other than French engraver Charles Meryon, whose moody Paris scenes Hopper imitated.[26]

Years of struggle [edit]

Afterward returning from his concluding European trip, Hopper rented a studio in New York City, where he struggled to ascertain his own style. Reluctantly, he returned to illustration to support himself. Being a freelancer, Hopper was forced to solicit for projects, and had to knock on the doors of magazine and agency offices to observe business.[27] His painting languished: "it's difficult for me to decide what I want to paint. I become for months without finding information technology sometimes. It comes slowly."[28] His fellow illustrator Walter Tittle described Hopper'south depressed emotional state in sharper terms, seeing his friend "suffering...from long periods of unconquerable inertia, sitting for days at a fourth dimension before his easel in helpless unhappiness, unable to raise a hand to break the spell."[29]

In 1912 (February 22 to March 5) he was included in the exhibition of The Independents a grouping of artists at the initiative of Robert Henri merely did not make any sales.[28]

In 1912, Hopper traveled to Gloucester, Massachusetts, to seek some inspiration and made his first outdoor paintings in America.[28] He painted Squam Light, the beginning of many lighthouse paintings to come.[30]

Hopper's prizewinning affiche, Smash the Hun (1919), reproduced on the front cover of the Morse Dry Dock Punch

In 1913, at the Armory Show, Hopper earned $250 when he sold his showtime painting, Sailing (1911), to an American businessman Thomas F Vietor, which he had painted over an earlier self-portrait.[31] Hopper was 30-one, and although he hoped his first sale would lead to others in brusk order, his career would not take hold of on for many more years.[32] He continued to participate in grouping exhibitions at smaller venues, such as the MacDowell Social club of New York.[33] Shortly after his father'south death that same twelvemonth, Hopper moved to the 3 Washington Square Due north apartment in the Greenwich Village section of Manhattan, where he would alive for the remainder of his life.

Night on the El Train (1918) past Edward Hopper

The post-obit year he received a commission to create some motion-picture show posters and handle publicity for a movie visitor.[34] Although he did not similar the illustration work, Hopper was a lifelong devotee of the movie theater and the theatre, both of which he treated as subjects for his paintings. Each form influenced his compositional methods.[35]

At an impasse over his oil paintings, in 1915 Hopper turned to carving. By 1923 he had produced most of his approximately 70 works in this medium, many of urban scenes of both Paris and New York.[36] [37] He likewise produced some posters for the war endeavour, likewise as continuing with occasional commercial projects.[38] When he could, Hopper did some outdoor oil paintings on visits to New England, especially at the art colonies at Ogunquit, and Monhegan Island.[39]

During the early 1920s his etchings began to receive public recognition. They expressed some of his later themes, every bit in Night on the El Railroad train (couples in silence), Evening Wind (solitary female), and The Catboat (simple nautical scene).[xl] Two notable oil paintings of this time were New York Interior (1921) and New York Eating place (1922).[41] He too painted 2 of his many "window" paintings to come: Girl at Sewing Motorcar and Moonlight Interior, both of which show a figure (clothed or nude) near a window of an flat viewed as gazing out or from the point of view from the outside looking in.[42]

Although these were frustrating years, Hopper gained some recognition. In 1918, Hopper was awarded the U.S. Shipping Lath Prize for his war affiche, "Smash the Hun". He participated in three exhibitions: in 1917 with the Lodge of Contained Artists, in January 1920 (a one-man exhibition at the Whitney Studio Club, which was the forerunner to the Whitney Museum), and in 1922 (again with the Whitney Studio Club). In 1923, Hopper received two awards for his etchings: the Logan Prize from the Chicago Society of Etchers, and the W. A. Bryan Prize.[43]

Marriage and breakthrough [edit]

Past 1923, Hopper's tiresome climb finally produced a breakthrough. He re-encountered Josephine Nivison, an creative person and old educatee of Robert Henri, during a summer painting trip in Gloucester, Massachusetts. They were opposites: she was brusque, open, gregarious, sociable, and liberal, while he was tall, secretive, shy, quiet, introspective, and bourgeois.[38] They married a year later with artist Guy Pene du Bois as their best human.[3] She remarked: "Sometimes talking to Eddie is but like dropping a stone in a well, except that information technology doesn't thump when information technology hits bottom."[44] She subordinated her career to his and shared his reclusive life mode. The residual of their lives revolved around their spare walk-up apartment in the metropolis and their summers in South Truro on Cape Cod. She managed his career and his interviews, was his principal model, and was his life companion.[44]

With Nivison's aid, 6 of Hopper'south Gloucester watercolors were admitted to an exhibit at the Brooklyn Museum in 1923. 1 of them, The Mansard Roof, was purchased by the museum for its permanent collection for the sum of $100.[45] The critics generally raved about his work; one stated, "What vitality, forcefulness and directness! Notice what can be done with the homeliest bailiwick."[45] Hopper sold all his watercolors at a i-man testify the following twelvemonth and finally decided to put illustration behind him.

The creative person had demonstrated his ability to transfer his allure to Parisian architecture to American urban and rural architecture. According to Boston Museum of Fine Arts curator Carol Troyen, "Hopper really liked the way these houses, with their turrets and towers and porches and mansard roofs and decoration cast wonderful shadows. He always said that his favorite thing was painting sunlight on the side of a house."[46]

At forty-one, Hopper received further recognition for his piece of work. He continued to harbor bitterness about his career, after turning down appearances and awards.[44] With his financial stability secured by steady sales, Hopper would alive a elementary, stable life and continue creating fine art in his personal way for four more decades.

His Two on the Aisle (1927) sold for a personal record $1,500, enabling Hopper to purchase an motorcar, which he used to make field trips to remote areas of New England.[47] In 1929, he produced Chop Suey and Railroad Sunset. The following yr, fine art patron Stephen Clark donated House by the Railroad (1925) to the Museum of Modern Fine art, the first oil painting that it acquired for its drove.[48] Hopper painted his last self-portrait in oil around 1930. Although Josephine posed for many of his paintings, she sat for only one formal oil portrait past her hubby, Jo Painting (1936).[49]

Hopper fared amend than many other artists during the Great Depression. His stature took a abrupt rise in 1931 when major museums, including the Whitney Museum of American Art and the Metropolitan Museum of Art, paid thousands of dollars for his works. He sold thirty paintings that year, including 13 watercolors.[47] The following yr he participated in the first Whitney Annual, and he continued to exhibit in every annual at the museum for the residual of his life.[47] In 1933, the Museum of Mod Art gave Hopper his first large-scale retrospective.[fifty]

In 1930, the Hoppers rented a cottage in S Truro, on Cape Cod. They returned every summer for the residuum of their lives, building a summer house at that place in 1934.[51] From in that location, they would accept driving trips into other areas when Hopper needed to search for fresh material to pigment. In the summers of 1937 and 1938, the couple spent extended sojourns on Wagon Wheels Farm in Southward Royalton, Vermont, where Hopper painted a series of watercolors forth the White River. These scenes are atypical among Hopper's mature works, as most are "pure" landscapes, devoid of compages or human figures. Kickoff Branch of the White River (1938), now in the Museum of Fine Arts, Boston, is the best-known of Hopper's Vermont landscapes.[52]

Hopper was very productive through the 1930s and early 1940s, producing amongst many important works New York Pic (1939), Girlie Show (1941), Nighthawks (1942), Hotel Lobby (1943), and Forenoon in a City (1944). During the belatedly 1940s, withal, he suffered a menstruum of relative inactivity. He admitted: "I wish I could paint more. I get sick of reading and going to the movies."[53] During the adjacent ii decades, his health faltered, and he had several prostate surgeries and other medical problems.[53] But, in the 1950s and early on 1960s, he created several more than major works, including First Row Orchestra (1951); every bit well equally Morning Sun and Hotel by a Railroad, both in 1952; and Intermission in 1963.[54]

Decease [edit]

Where Hopper lived in New York City, 3 Washington Square North

Gravestone Edward and Josephine H., Oak Hill Cemetery, Nyack

Hopper died of natural causes in his studio near Washington Square in New York Urban center on May 15, 1967. He was cached two days later in the family unit plot at Oak Loma Cemetery in Nyack, New York, his identify of nascency.[55] His wife died ten months later and is buried with him.

His wife bequeathed their joint drove of more than than three thousand works to the Whitney Museum of American Art.[56] Other significant paintings past Hopper are held past the Museum of Modernistic Art in New York, The Des Moines Fine art Center, and the Art Constitute of Chicago.

Fine art [edit]

Personality and vision [edit]

Always reluctant to discuss himself and his art, Hopper but said, "The whole reply is there on the canvas."[fifty] Hopper was stoic and fatalistic—a placidity introverted man with a gentle sense of humour and a frank manner. Hopper was someone fatigued to an allegorical, anti-narrative symbolism,[57] who "painted short isolated moments of configuration, saturated with proposition".[58] His silent spaces and uneasy encounters "touch us where we are most vulnerable",[59] and have "a proposition of melancholy, that melancholy existence enacted".[60] His sense of color revealed him as a pure painter[61] every bit he "turned the Puritan into the purist, in his quiet canvasses where blemishes and blessings balance".[62] Co-ordinate to critic Lloyd Goodrich, he was "an eminently native painter, who more than any other was getting more of the quality of America into his canvases".[63] [64]

Conservative in politics and social matters (Hopper asserted for case that "artists' lives should exist written by people very shut to them"),[65] he accepted things equally they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading.[66] He was more often than not expert company and unperturbed by silences, though sometimes taciturn, grumpy, or detached. He was e'er serious most his fine art and the art of others, and when asked would return frank opinions.[67]

Hopper's most systematic proclamation of his philosophy as an artist was given in a handwritten note, entitled "Statement", submitted in 1953 to the journal, Reality:

Neat art is the outward expression of an inner life in the artist, and this inner life will effect in his personal vision of the globe. No amount of skillful invention tin replace the essential chemical element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a individual imaginative conception.

The inner life of a human being is a vast and varied realm and does not business organisation itself lonely with stimulating arrangements of color, class and design.

The term life used in art is something not to exist held in contempt, for it implies all of beingness and the province of art is to react to it and not to shun information technology.

Painting will accept to deal more fully and less obliquely with life and nature's phenomena before it can again become great.[68]

Though Hopper claimed that he didn't consciously embed psychological meaning in his paintings, he was deeply interested in Freud and the power of the subconscious listen. He wrote in 1939, "So much of every art is an expression of the subconscious that it seems to me most of all the important qualities are put there unconsciously, and little of importance by the witting intellect."[69]

Methods [edit]

Although he is best known for his oil paintings, Hopper initially achieved recognition for his watercolors and he also produced some commercially successful etchings. Additionally, his notebooks comprise high-quality pen and pencil sketches, which were never meant for public viewing.

Hopper paid particular attention to geometrical pattern and the careful placement of man figures in proper balance with their surroundings. He was a tiresome and methodical creative person; equally he wrote, "It takes a long time for an idea to strike. So I have to think about it for a long time. I don't start painting until I have it all worked out in my mind. I'm all correct when I go to the easel".[lxx] He oftentimes made preparatory sketches to piece of work out his carefully calculated compositions. He and his wife kept a detailed ledger of their works noting such items as "sad face of adult female unlit", "electrical calorie-free from ceiling", and "thighs cooler".[71]

For New York Movie (1939), Hopper demonstrates his thorough preparation with more than 53 sketches of the theater interior and the figure of the pensive usherette.[72]

The constructive use of light and shadow to create mood also is central to Hopper'southward methods. Brilliant sunlight (as an emblem of insight or revelation), and the shadows information technology casts, as well play symbolically powerful roles in Hopper paintings such equally Early Lord's day Morning (1930), Summer (1943), 7 A.Grand. (1948), and Sun in an Empty Room (1963). His utilise of light and shadow effects have been compared to the cinematography of film noir.[73]

Although a realist painter, Hopper'due south "soft" realism simplified shapes and details. He used saturated colour to heighten dissimilarity and create mood.

Subjects and themes [edit]

Hopper derived his discipline matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theaters, railroads, and street scenes) and its inhabitants; and 2, seascapes and rural landscapes. Regarding his style, Hopper defined himself equally "an amalgam of many races" and not a fellow member of any schoolhouse, particularly the "Ashcan School".[74] Once Hopper achieved his mature style, his fine art remained consistent and self-contained, in spite of the numerous art trends that came and went during his long career.[74]

Hopper'due south seascapes fall into three master groups: pure landscapes of rocks, sea, and embankment grass; lighthouses and farmhouses; and sailboats. Sometimes he combined these elements. Almost of these paintings describe stiff light and fair weather; he showed little interest in snow or rain scenes, or in seasonal color changes. He painted the majority of the pure seascapes in the period between 1916 and 1919 on Monhegan Island.[75] Hopper's The Long Leg (1935) is a near all-blue sailing picture with the simplest of elements, while his Ground Swell (1939) is more circuitous and depicts a grouping of youngsters out for a sail, a theme reminiscent of Winslow Homer's iconic Breezing Up (1876).[76]

Urban architecture and cityscapes also were major subjects for Hopper. He was fascinated with the American urban scene, "our native compages with its hideous dazzler, its fantastic roofs, pseudo-gothic, French Mansard, Colonial, mongrel or what not, with eye-searing color or delicate harmonies of faded pigment, shouldering one another along interminable streets that taper off into swamps or dump heaps."[77]

In 1925, he produced Business firm past the Railroad. This classic work depicts an isolated Victorian wood mansion, partly obscured by the raised embankment of a railroad. It marked Hopper's artistic maturity. Lloyd Goodrich praised the work as "one of the near poignant and desolating pieces of realism."[78] The work is the first of a series of stark rural and urban scenes that uses abrupt lines and big shapes, played upon by unusual lighting to capture the lonely mood of his subjects. Although critics and viewers interpret meaning and mood in these cityscapes, Hopper insisted "I was more interested in the sunlight on the buildings and on the figures than any symbolism."[79] As if to prove the point, his belatedly painting Sun in an Empty Room (1963) is a pure written report of sunlight.[80]

Most of Hopper'south effigy paintings focus on the subtle interaction of human beings with their environment—carried out with solo figures, couples, or groups. His main emotional themes are solitude, loneliness, regret, boredom, and resignation. He expresses the emotions in various environments, including the office, in public places, in apartments, on the road, or on vacation.[81] As if he were creating stills for a moving-picture show or tableaux in a play, Hopper positioned his characters as if they were captured merely before or just later on the climax of a scene.[82]

Hopper's lonely figures are mostly women—dressed, semi-clad, and nude—frequently reading or looking out a window, or in the workplace. In the early 1920s, Hopper painted his first such images Girl at Sewing Motorcar (1921), New York Interior (another woman sewing) (1921), and Moonlight Interior (a nude getting into bed) (1923). Automat (1927) and Hotel Room (1931), withal, are more representative of his mature style, emphasizing the confinement more overtly.[83]

Equally Hopper scholar, Gail Levin, wrote of Hotel Room:

The spare vertical and diagonal bands of color and abrupt electric shadows create a concise and intense drama in the night...Combining poignant subject matter with such a powerful formal arrangement, Hopper'due south composition is pure enough to approach an almost abstruse sensibility, yet layered with a poetic meaning for the observer.[84]

Hopper'due south Room in New York (1932) and Cape Cod Evening (1939) are prime examples of his "couple" paintings. In the kickoff, a young couple announced alienated and uncommunicative—he reading the paper while she idles by the piano. The viewer takes on the role of a voyeur, as if looking with a telescope through the window of the apartment to spy on the couple'south lack of intimacy. In the latter painting, an older couple with little to say to each other, are playing with their dog, whose own attention is fatigued away from his masters.[85] Hopper takes the couple theme to a more ambitious level with Circuit into Philosophy (1959). A middle-aged man sits dejectedly on the edge of a bed. Abreast him lies an open book and a partially clad woman. A shaft of light illuminates the floor in front of him. Jo Hopper noted in their log book, "[T]he open volume is Plato, reread also late".

Levin interprets the painting:

Plato's philosopher, in search of the real and the true, must turn abroad from this transitory realm and contemplate the eternal Forms and Ideas. The pensive homo in Hopper'south painting is positioned betwixt the lure of the earthly domain, figured by the adult female, and the phone call of the higher spiritual domain, represented by the ethereal lightfall. The pain of thinking about this choice and its consequences, after reading Plato all dark, is axiomatic. He is paralysed by the fervent inner labour of the melancholic.[86]

In Office at Nighttime (1940), another "couple" painting, Hopper creates a psychological puzzle. The painting shows a man focusing on his work papers, while nearby his bonny female person secretary pulls a file. Several studies for the painting show how Hopper experimented with the positioning of the two figures, perchance to heighten the eroticism and the tension. Hopper presents the viewer with the possibilities that the man is either truly uninterested in the woman's appeal or that he is working hard to ignore her. Some other interesting attribute of the painting is how Hopper employs three light sources,[85] from a desk lamp, through a window and indirect light from above. Hopper went on to make several "office" pictures, but no others with a sensual undercurrent.

The best known of Hopper'south paintings, Nighthawks (1942), is 1 of his paintings of groups. It shows customers sitting at the counter of an all-dark diner. The shapes and diagonals are carefully constructed. The viewpoint is cinematic—from the sidewalk, as if the viewer were approaching the eating place. The diner's harsh electric low-cal sets it autonomously from the nighttime night exterior, enhancing the mood and subtle emotion.[87] As in many Hopper paintings, the interaction is minimal. The restaurant depicted was inspired by one in Greenwich Village. Both Hopper and his married woman posed for the figures, and Jo Hopper gave the painting its title. The inspiration for the picture may have come from Ernest Hemingway's short story "The Killers", which Hopper greatly admired,[88] or from the more philosophical "A Clean, Well-Lighted Place".[89] The mood of the painting has sometimes been interpreted as an expression of wartime anxiety.[90] In keeping with the championship of his painting, Hopper later said, Nighthawks has more to exercise with the possibility of predators in the night than with loneliness.[91]

His 2nd most recognizable painting afterwards Nighthawks is another urban painting, Early Sunday Morning time (originally chosen Seventh Avenue Shops), which shows an empty street scene in precipitous side light, with a burn down hydrant and a barber pole as stand-ins for human figures. Originally Hopper intended to put figures in the upstairs windows but left them empty to heighten the feeling of desolation.[92]

Hopper's rural New England scenes, such as Gas (1940), are no less meaningful. Gas represents "a unlike, equally clean, well-lighted refuge ... ke[pt] open up for those in need equally they navigate the night, traveling their own miles to go before they sleep."[93] The work presents a fusion of several Hopper themes: the alone figure, the melancholy of dusk, and the alone road.[94]

Hopper approaches Surrealism with Rooms by the Ocean (1951), where an open door gives a view of the ocean, without an apparent ladder or steps and no indication of a beach.[95]

Subsequently his educatee years, Hopper'southward nudes were all women. 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.[96] I audacious exception is Girlie Show (1941), where a red-headed strip-tease queen strides confidently across a stage to the accompaniment of the musicians in the pit. Girlie Testify was inspired past Hopper's visit to a burlesque show a few days before. Hopper's married woman, equally usual, posed for him for the painting, and noted in her diary, "Ed beginning a new canvas—a burlesque queen doing a strip tease—and I posing without a sew on in front of the stove—naught merely high heels in a lottery trip the light fantastic pose."[97]

Hopper'southward portraits and cocky-portraits were relatively few after his student years.[98] Hopper did produce a deputed "portrait" of a house, The MacArthurs' Home (1939), where he faithfully details the Victorian compages of the domicile of actress Helen Hayes. She reported later, "I guess I never met a more than misanthropic, grumpy individual in my life." Hopper grumbled throughout the project and never again accepted a committee.[99] Hopper as well painted Portrait of Orleans (1950), a "portrait" of the Cape Cod town from its main street.[100]

Though very interested in the American Civil War and Mathew Brady's battlefield photographs, Hopper made but two historical paintings. Both depicted soldiers on their style to Gettysburg.[101] Also rare among his themes are paintings showing action. The best example of an action painting is Bridle Path (1939), merely Hopper'due south struggle with the proper beefcake of the horses may take discouraged him from similar attempts.[102]

Hopper'southward concluding oil painting, Two Comedians (1966), painted one year before his death, focuses on his dear of the theater. 2 French pantomime actors, one male person and i female person, both dressed in brilliant white costumes, take their bow in front of a darkened stage. Jo Hopper confirmed that her married man intended the figures to propose their taking their life'due south last bows together every bit hubby and married woman.[103]

Hopper's paintings have oft been seen by others as having a narrative or thematic content that the artist may not have intended. Much significant can be added to a painting by its championship, 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 whatsoever existent connectedness with the creative person's meaning. For example, Hopper once told an interviewer that he was "addicted of Early Sunday Morning... only it wasn't necessarily Sunday. That word was tacked on after by someone else."[104]

The tendency to read thematic or narrative content into Hopper'south paintings, that Hopper had not intended, extended even to his wife. When Jo Hopper commented on the figure in Greatcoat Cod Forenoon "It's a woman looking out to see if the conditions's good enough to hang out her wash," Hopper retorted, "Did I say that? You lot're making it Norman Rockwell. From my point of view she's simply looking out the window."[105] Another example of the same phenomenon is recorded in a 1948 article in Time:

Hopper'due south Summer Evening, a young couple talking in the harsh light of a cottage porch, is inescapably romantic, but Hopper was hurt by one critic's suggestion that it would do for an analogy in "any woman's magazine." Hopper had the painting in the back of his head "for twenty years and I never idea of putting the figures in until I actually started last summer. Why whatsoever art manager would tear the picture apart. The figures were non what interested me; it was the light streaming downwardly, and the night all around."[106]

Place in American art [edit]

New York Restaurant (1922)

In focusing primarily on quiet moments, very rarely showing action, Hopper employed a form of realism adopted by another leading American realist, Andrew Wyeth, but Hopper's technique was completely different from Wyeth's hyper-detailed style.[fifty] In league with some of his contemporaries, Hopper shared his urban sensibility with John Sloan and George Bellows, but avoided their overt action and violence. Where Joseph Stella and Georgia O'Keeffe glamorized the monumental structures of the city, Hopper reduced them to everyday geometrics and he depicted the pulse of the urban center every bit desolate and dangerous rather than "elegant or seductive".[107]

Charles Burchfield, whom Hopper admired and to whom he was compared, said of Hopper, "he achieves such a consummate verity that you tin read into his interpretations of houses and conceptions of New York life any man implications you wish."[108] He also attributed Hopper'southward success to his "assuming individualism. ... In him we take regained that sturdy American independence which Thomas Eakins gave us, but which for a time was lost."[109] Hopper considered this a high compliment since he considered Eakins the greatest American painter.[110]

Hopper scholar Deborah Lyons writes, "Our own moments of revelation are oft mirrored, transcendent, in his work. One time seen, Hopper's interpretations exist in our consciousness in tandem with our own experience. We forever see a sure type of business firm as a Hopper house, invested perhaps with a mystery that Hopper implanted in our own vision." Hopper's paintings highlight the seemingly mundane and typical scenes in our everyday life and give them cause for epiphany. In this style Hopper'due south art takes the gritty American mural and lonely gas stations and creates within them a sense of beautiful anticipation.[111]

Although compared to his contemporary Norman Rockwell in terms of subject field matter, Hopper did not like the comparing. Hopper considered himself more than subtle, less illustrative, and certainly non sentimental. Hopper also rejected comparisons with Grant Wood and Thomas Hart Benton stating "I recollect the American Scene painters caricatured America. I always wanted to do myself."[112]

Influence [edit]

Hopper'south influence on the art earth and pop culture is undeniable; see § In popular civilization for numerous examples. Though he had no formal students, many artists take cited him as an influence, including Willem de Kooning, Jim Dine, and Marker Rothko.[74] An analogy of Hopper's influence is Rothko'southward early work Composition I (c. 1931), which is a direct paraphrase of Hopper'due south Chop Suey.[113]

Hopper'south cinematic compositions and dramatic use of light and night have made him a favorite among filmmakers. For example, House by the Railroad is reported to accept heavily influenced the iconic house in the Alfred Hitchcock film Psycho.[114] The same painting has also been cited as being an influence on the home in the Terrence Malick film Days of Heaven. The 1981 motion picture Pennies from Sky includes a tableau vivant of Nighthawks, with the lead actors in the places of the diners. German director Wim Wenders besides cites Hopper influence.[74] His 1997 film The Finish of Violence also incorporates a tableau vivant of Nighthawks, recreated by actors. Noted surrealist horror flick director Dario Argento went and then far as to recreate the diner and the patrons in Nighthawks equally part of a fix for his 1976 picture Deep Red (aka Profondo Rosso). Ridley Scott has cited the aforementioned painting every bit a visual inspiration for Blade Runner. To institute the lighting of scenes in the 2002 film Route to Perdition, director Sam Mendes drew from the paintings of Hopper every bit a source of inspiration, especially New York Film.[115]

Homages to Nighthawks featuring cartoon characters or famous popular civilization icons such as James Dean and Marilyn Monroe are often establish in poster stores and gift shops. The cable telly channel Turner Classic Movies sometimes runs animated clips based on Hopper paintings prior to ambulation its films. Musical influences include vocalist/songwriter Tom Waits'due south 1975 alive-in-the-studio album titled Nighthawks at the Diner, after the painting. In 1993, Madonna was inspired sufficiently by Hopper'south 1941 painting Girlie Testify that she named her globe tour afterwards it and incorporated many of the theatrical elements and mood of the painting into the testify. In 2004, British guitarist John Squire (formerly of The Stone Roses) released a concept album based on Hopper's work entitled Marshall's House. Each song on the anthology is inspired past, and shares its championship with, a painting past Hopper. Canadian rock group The Weakerthans released their album Reunion Bout in 2007 featuring ii songs inspired by and named afterward Hopper paintings, "Dominicus in an Empty Room", and "Dark Windows", and have also referenced him in songs such as "Hospital Vespers". Hopper's Compartment C, Car 293 inspired Polish composer Paweł Szymański'due south Compartment two, Auto 7 for violin, viola, cello and vibraphone (2003), as well every bit Hubert-Félix Thiéfaine's song Compartiment C Voiture 293 Edward Hopper 1938 (2011). Hopper'south work has influenced multiple recordings past British band Orchestral Manoeuvres in the Dark. Early Lord's day Forenoon was the inspiration for the sleeve of Crush (1985). The same band'due south 2013 single "Night Café" was influenced past Nighthawks and mentions Hopper by name. Seven of his paintings are referenced in the lyrics.[116]

In poetry, numerous poems have been inspired by Hopper's paintings, typically as bright descriptions and dramatizations; this genre is known as ekphrasis. In addition to numerous private poems inspired past Hopper, several poets have written collections based on Hopper's paintings. The French poet Claude Esteban wrote a collection of prose poems, Soleil dans une pièce vide (Sun in an Empty room, 1991), based on forty-vii Hopper paintings from between 1921 and 1963, ending with Sun in an Empty room (1963), hence the title.[117] The poems each dramatized a Hopper painting, imagining a story backside the scene; the volume won the Prix France Culture prize in 1991. Eight of the poems – Ground Swell, Girl at Sewing Automobile, Compartment C, Car 293, Nighthawks, South Carolina Morning, Business firm by the Railroad, People in the Sun, and Roofs of Washington Foursquare – were later on set to music by composer Graciane Finzi, and recorded with reading by the singer Natalie Dessay on her album Portraits of America (2016), where they were supplemented past selecting 10 additional Hopper paintings, and songs from the American songbook to get with them.[118] Similarly, the Castilian poet Ernest Farrés wrote a collection of fifty-1 poems in Catalan, nether the name Edward Hopper (2006, English language translation 2010 by Lawrence Venuti), and James Hoggard wrote Triangles of Low-cal: The Edward Hopper Poems (Wings Press, 2009). A collection by various poets was organized in The Verse of Solitude: A Tribute to Edward Hopper 1995 (editor Gail Levin). Individual poems include Byron Vazakas (1957) and John Stone (1985) inspired by Early Sunday Morning, and Mary Leader inspired by Daughter at Sewing Machine.

Exhibitions [edit]

In 1980, the prove Edward Hopper: The Art and the Creative person opened at the Whitney Museum of American Art and visited London, Düsseldorf, and Amsterdam, besides as San Francisco and Chicago. For the first fourth dimension ever, this show presented Hopper'southward oil paintings together with preparatory studies for those works. This was the beginning of Hopper's popularity in Europe and his big worldwide reputation.[ citation needed ]

In 2004, a large selection of Hopper'south paintings toured Europe, visiting Museum Ludwig in Cologne, Deutschland, and the Tate Modern in London. The Tate exhibition became the second almost popular in the gallery's history, with 420,000 visitors in the iii months it was open up.

In 2007, an exhibition focused on the flow of Hopper's greatest achievements—from nigh 1925 to mid-century—and was presented at the Museum of Fine Arts, Boston. The exhibit comprised fifty oil paintings, 30 watercolors, and twelve prints, including the favorites Nighthawks, Chop Suey, and Lighthouse and Buildings. The exhibition was organized by the Museum of Fine Arts, Boston, the National Gallery of Art, Washington, and the Art Institute of Chicago and sponsored past the global direction consulting firm Booz Allen Hamilton.

In 2010, the Fondation de 50'Hermitage museum in Lausanne, Switzerland, held an exhibition that covered Hopper's entire career, with works drawn largely from the Whitney Museum in New York City. Information technology included paintings, watercolors, etchings, cartoons, posters, every bit well every bit some of the preparatory studies for selected paintings. The exhibition had previously been seen in Milan and Rome. In 2011, The Whitney Museum of American Art held an exhibition called Edward Hopper and His Times.

In 2012, an exhibition opened at the One thousand Palais in Paris that sought to shed low-cal on the complexity of his masterpieces, which is an indication of the richness of Hopper'due south oeuvre. It was divided chronologically into two main parts: the commencement section covered Hopper's formative years (1900–1924), comparing his work with that of his contemporaries and art he saw in Paris, which may have influenced him. The 2nd section looked at the fine art of his mature years, from the offset paintings emblematic of his personal way, such as House by the Railroad (1924), to his last works.

In 2020, Fondation Beyeler held an exhibition displaying Hopper's art. The exhibition focused on Hopper's "iconic representations of the infinite expanse of American landscapes and cityscapes".[119] This aspect has rarely been referred to in exhibitions, nonetheless it is a key ingredient to agreement Hopper's work.

Art market [edit]

Works past Hopper rarely appear on the market. The artist was not prolific, painting only 366 canvases; during the 1950s, when he was in his 70s, he produced approximately 5 paintings a year. Hopper's longtime dealer, Frank Rehn, who gave the creative person his first solo show in 1924, sold Hotel Window (1956) to collector Olga Knoepke for $7,000 (equivalent to $67,537 in 2021) in 1957. In 1999, the Forbes Drove sold information technology to player Steve Martin privately for around $10 million.[120] In 2006, Martin sold it for $26.89 million at Sotheby's New York, an sale tape for the artist.[121]

In 2013 the Pennsylvania Academy of Fine Arts put Hopper's East Wind Over Weehawken (1934) upwardly for sale, hoping to garner the $22–$28 million at which the painting is valued,[122] in order to establish a fund to learn "gimmicky art" that would appreciate in value.[123] It is a street scene rendered in dark, bawdy tones depicting the gabled firm at 1001 Boulevard East at the corner of 49th Street in Weehawken, New Bailiwick of jersey, and is considered i of Hopper's all-time works.[124] Information technology was caused directly from the dealer treatment the creative person's paintings in 1952, 15 years earlier the death of the painter, at a very low toll. The painting sold for a record-breaking $36 million at Christie'due south in New York,[123] to an bearding telephone applicant.

In 2018, after the expiry of art collector Barney A. Ebsworth and subsequent auction of many of the pieces from his collection, Chop Suey (1929) was sold for $92 million, becoming the well-nigh expensive of Hopper'south work always bought at auction.[125] [126]

In popular civilization [edit]

In addition to his influence (see § Influence), Hopper is frequently referenced in popular culture.

In 1981, Hopper'southward Silence, a documentary by Brian O'Doherty produced by the Whitney Museum of American Art, was shown at the New York Film Festival at Alice Tully Hall.[127]

Austrian managing director Gustav Deutsch created the 2013 film Shirley – Visions of Reality based on 13 of Edward Hopper's paintings.[128] [129]

Other works based on or inspired by Hopper's paintings include Tom Waits'due south 1975 album Nighthawks at the Diner, and a 2012 series of photographs by Gail Albert Halaban.[129] [130]

In the volume (1985, 1998) and traveling exhibition called Hopper's Places, Gail Levin located and photographed the sites for many of Hopper's paintings. In her 1985 review of a related show organized by Levin, Vivien Raynor wrote in the New York Times: "Miss Levin'due south deductions are invariably enlightening, every bit when she infers that Hopper'southward tendency to elongate structures was a reflection of his own great summit."[131]

New wave ring Orchestral Manoeuvres in the Night's 1985 album Shell features artwork inspired by several Hopper paintings, including Early Sunday Morning, Nighthawks and Room in New York.[132] The band's 2013 unmarried "Night Cafe" was influenced past Nighthawks and mentions Hopper by proper noun. Seven of his paintings are referenced in the lyrics.[116]

The New York Urban center Opera staged the E Coast premiere of Stewart Wallace's "Hopper's Wife" – a 1997 chamber opera most an imagined marriage between Edward Hopper and the gossip columnist Hedda Hopper, at Harlem Stage in 2016.[133]

Irish novelist, Christine Dwyer Hickey, published a novel, The Narrow Country, in 2019 in which Edward and Jo Hopper were central characters.[134]

Paul Weller included a song named 'Hopper' on his 2017 album A Kind Revolution.

Selected works [edit]

Championship Medium Date Collection Dimensions Image
Girl at Sewing Machine oil on canvas 1921 Thyssen-Bornemisza Museum 48 cm × 46 cm (nineteen in × 18 in) Girl at Sewing Machine by Edward Hopper 1921.jpg
House by the Railroad oil on canvas 1925 Museum of Modernistic Art 61 cm × 73.vii cm The House by the Railroad by Edward Hopper 1925.jpg
Automat oil on sail 1927 Des Moines Fine art Center 71.4 cm × 91.4 cm (28 in × 36 in) HopperAutomat.jpg
Manhattan Bridge Loop oil on canvas 1928 Addison Gallery of American Art 88.9 × 152.4 cm (35 × 60 in) Manhattan-bridge-loop-edward-hopper-1928.jpg
Chop Suey oil on canvass 1929 Barney A. Ebsworth Collection 81.3 cm × 96.5 cm (32 in × 38 in) HopperChopSuey.jpg
Early Sunday Morning time oil on canvas 1930 Whitney Museum of American Art 89.4 cm × 153 cm (35.two in × threescore.3 in) Early-sunday-morning-edward-hopper-1930.jpg
Part at Night oil on canvass 1940 Walker Art Center (Minneapolis) 56.356 cm × 63.82 cm (22.1875 in × 25.125 in) Office-at-night-edward-hopper-1940.jpg
Nighthawks oil on canvass 1942 Fine art Institute of Chicago 84.1 cm × 152.iv cm (33+ i⁄eight in × threescore in) Nighthawks
Hotel Lobby oil on sail 1943 Indianapolis Museum of Fine art 81.9 cm × 103.5 cm (32+ one⁄four in × 40+ 3⁄4 in)
Function in a Pocket-sized City oil on canvass 1953 Metropolitan Museum of Art 71 cm × 102 cm (28 in × twoscore in)

Notes [edit]

  1. ^ Levin, Gail (1999). "Hopper, Edward". American National Biography. New York: Oxford Academy Press. (subscription required)
  2. ^ "Edward Hopper (1882–1967)". metmuseum.org.
  3. ^ a b Levin, Gail, Edward Hopper: An Intimate Biography, Alfred A. Knopf, New York, 1995, p.11, ISBN 0-394-54664-4
  4. ^ Levin 1995, p. ix
  5. ^ Levin 1995, p. 12
  6. ^ Levin 1995, p. 23
  7. ^ "Edward Hopper House Art Middle – Edward Hopper House".
  8. ^ "National Register Information Organization". National Register of Historic Places. National Park Service. March 13, 2009.
  9. ^ Levin 1995, p. 12, 16
  10. ^ a b Levin 1995, p. xvi-18
  11. ^ Levin 1995, p. 20
  12. ^ Shadwick, Louis, "The Origins of Edward Hopper's Earliest Oil Paintings", The Burlington Magazine, Vol. 162 (October 2020) pp.870-877
  13. ^ Gopnik, Blake (October 2, 2020). "Early Works by Edward Hopper Constitute to Exist Copies of Other Artists". The New York Times.
  14. ^ Levin 1995, p. 23, 25
  15. ^ Brenner, Elsa (December v, 2004). "A Trio of Villages Hugging the Hudson". The New York Times . Retrieved May iv, 2008.
  16. ^ a b c Maker 1990, p. viii
  17. ^ Wagstaff, Sheena Ed., Edward Hopper, Tate Publishing, London, 2004, p. 16, ISBN one-85437-533-4
  18. ^ Levin 1995, p. 40
  19. ^ a b Maker 1990, p. 9
  20. ^ Levin 2001, p. nineteen
  21. ^ Levin 2001, p. 38
  22. ^ Levin 1995, p. 48
  23. ^ Maker 1990, p. 11
  24. ^ Wagstaff 2004, p. 17
  25. ^ Levin 1995, p. 66
  26. ^ Maker 1990, p. 10
  27. ^ Levin 1995, p. 85
  28. ^ a b c Levin 1995, p. 88
  29. ^ Wagstaff 2004, p. 53
  30. ^ Levin 2001, p. 88
  31. ^ Levin 2001, p. 107
  32. ^ Levin 1995, p. 90
  33. ^ Gail Levin. Hopper, Edward, American National Biography Online, Feb 2000. Retrieved December 20, 2015.
  34. ^ Wagstaff 2004, p. 227
  35. ^ Levin 2001, pp. 74–77
  36. ^ Maker 1990, p. 12
  37. ^ Kranzfelder, Ivo, and Edward Hopper, Edward Hopper, 1882–1967: Vision of Reality, New York: Barnes & Noble Books, 2003, p. 13, ISBN 0760748772
  38. ^ a b Levin 1995, p. 120
  39. ^ Levin 1980, pp. 29–33
  40. ^ Maker 1990, p. 13-fifteen
  41. ^ Levin 2001, p. 151, 153
  42. ^ Levin 2001, pp. 152, 155
  43. ^ Levin, Gail, "Edward Hopper: Chronology" in Edward Hopper at Kennedy Galleries New York: Kennedy Galleries, 1977.
  44. ^ a b c Maker 1990, p. 16
  45. ^ a b Levin 1995, p. 171
  46. ^ Hopper's Gloucester, Andrea Shea, WBUR, July vi, 2007.
  47. ^ a b c Wagstaff 2004, p. 230
  48. ^ Levin 2001, p. 161
  49. ^ Levin 2001, p. 246
  50. ^ a b c Maker 1990, p. 17
  51. ^ Allman, William G. (February 10, 2014). "New additions to the Oval Office". whitehouse.gov . Retrieved February 11, 2016 – via National Archives.
  52. ^ Clause 2012
  53. ^ a b Wagstaff 2004, p. 232
  54. ^ Wagstaff 2004, p. 233
  55. ^ (de) Grave of Edward Hopper at knerger.de
  56. ^ Wagstaff 2004, p. 235
  57. ^ Anfam, David, "Review of 'A Catalogue of Raisonne by -Gail Levin'," The Burlington Mag, 1999.
  58. ^ Strand, Mark, Hopper, Knopf Publishing, 1994 ISBN 9780307701244
  59. ^ Berman, Avis, "Hopper the Supreme American Realist of the 20th Century", Smithsonian Magazine June 2007
  60. ^ Strand, Marking, "Review of 'Hopper Cartoon' Whitney Museum 2013", The New York Review of Books, June 2015
  61. ^ Art Digest April 1937 'Carnegie Traces Hopper's Ascension to Fame'
  62. ^ "The Silent Witness", Time, December 24, 1956
  63. ^ Maker, Sherry, Edward Hopper, Brompton Books, New York, 1990, p. 6, ISBN 0-517-01518-8
  64. ^ Goodrich, Lloyd, "The Paintings of Edward Hopper", The Arts, March 1927
  65. ^ Interview in 1960 with Katherine Kuhn, quoted in her The Artist'due south Vocalization, Harper and Row, New York, 1960
  66. ^ Wagstaff 2004, p. 88
  67. ^ Wagstaff 2004, pp. 84–86
  68. ^ Edward Hopper, "Argument." Published as a part of "Statements past Four Artists" in Reality, vol. one, no. 1 (spring 1953). Hopper's handwritten draft is reproduced in Levin, Edward Hopper: An Intimate Biography, p. 461.
  69. ^ Wagstaff 2004, p. 71
  70. ^ Wagstaff 2004, p. 98
  71. ^ Levin 2001, p. 254
  72. ^ Levin 2001, p. 261
  73. ^ Wagstaff 2004, p. 92
  74. ^ a b c d Wagstaff 2004, p. 13
  75. ^ Levin 2001, pp. 130–145
  76. ^ Levin 2001, p. 266
  77. ^ Wagstaff 2004, p. 67
  78. ^ Wagstaff 2004, p. 229
  79. ^ Wagstaff 2004, p. 12
  80. ^ Wagstaff 2004, p. 28
  81. ^ Wagstaff 2004, pp. 70–71
  82. ^ Goodrich, Lloyd, Edward Hopper, New York City: H. N. Abrams, 1971
  83. ^ Levin 2001, p. 169, 213
  84. ^ Levin 2001, p. 212
  85. ^ a b Levin 2001, p. 220, 264
  86. ^ Wagstaff 2004, p. 55
  87. ^ Levin 2001, p. 288
  88. ^ Hopper wrote: "I desire to compliment you for printing Ernest Hemingway'southward "The Killers" in the March Scribner's. It is refreshing to come upon such a honest piece of work in an American magazine, afterwards wading through the vast sea of carbohydrate coated mush that makes up the well-nigh of our fiction. Of the concessions to popular prejudices, the side stepping of truth, and the ingenious machinery of the fox catastrophe there is no taint in this story.", Edward Hopper to the editor, Scribner's Mag, 82 (June 1927), p. 706d, quoted in Levin (1979, p. seven) harvtxt error: no target: CITEREFLevin1979 (assist), Levin (1979, note 25) harvtxt error: no target: CITEREFLevin1979 (help)
  89. ^ Wagstaff 2004, p. 44
  90. ^ Jessica Spud (June 2007). "Edward Hopper (1882–1967)". www.metmuseum.org . Retrieved April 22, 2020.
  91. ^ Levin 1995, p. 350
  92. ^ Levin 2001, p. 198
  93. ^ Wells, Walter (2007). Silent Theater: The Fine art of Edward Hopper. London/New York: Phaidon Press. ISBN978-0714845418.
  94. ^ Levin 2001, p. 278
  95. ^ Maker 1990, p. 37
  96. ^ Wagstaff 2004, p. 20
  97. ^ Levin 2001, p. 282
  98. ^ Levin 2001, p. 162
  99. ^ Levin 2001, p. 268
  100. ^ Levin 2001, p. 332
  101. ^ Levin 2001, p. 274
  102. ^ Levin 2001, p. 262
  103. ^ Levin 2001, p. 380
  104. ^ Interview with Hopper in Katharine Kuh, The Artist'south Voice: Talks with Seventeen Modern Artists. Originally published 1962. New York: Da Capo, 2000, p. 134.
  105. ^ Levin 2001, p. 334
  106. ^ "Travelling Man", Time, January 19, 1948, pp. 59–60.
  107. ^ Maker 1990, p. 43
  108. ^ Maker 1990, p. 65
  109. ^ Wagstaff 2004, p. 15
  110. ^ Wagstaff 2004, p. 23
  111. ^ Deborah Lyons, Edward Hopper and The American Imagination, New York, 1995, p. XII, ISBN 0-393-31329-eight
  112. ^ Maker 1990, p. 19
  113. ^ Wagstaff 2004, p. 36
  114. ^ Wagstaff 2004, p. 234
  115. ^ Ray Zone. "A Master of Mood". American Cinematographer. Retrieved June 6, 2007.
  116. ^ a b "Premiere: OMD, 'Night Café' (Vile Electrodes 'B-Side the C-Side' Remix)". Slicing Up Eyeballs. Baronial v, 2013. Retrieved September 25, 2013.
  117. ^ Sample poem: Trois fenêtres, la nuit (Night windows), notes
  118. ^ Pictures of America, November 24, 2016, archived from the original on February 2, 2017
  119. ^ N/A, FONDATION BEYELER (2020). "Edward Hopper". FONDATION BEYELER . Retrieved January three, 2021.
  120. ^ Vogel, Carol. (October 6, 2006). Edward Hopper Paintings Change at Whitney Prove The New York Times.
  121. ^ Linsay Pollock (November 29, 2006). "Steve Martin Hopper, Wistful Rockwell Suspension Sale Records". Bloomberg.
  122. ^ Salisbury, Stephan (Baronial 29, 2013). "Pennsylvania University to sell Hopper painting". philly.com.
  123. ^ a b Carswell, Vonecia (December vi, 2013). "1934 'E Wind Over Weehawken' painting sells for $36M at Christie's auction". The Jersey Journal.
  124. ^ Schwartz, Art (Dec 29, 2013). "Hopper comes habitation Adult female buys modern version of $40M painting depicting her house on Boulevard Due east". Hudson Reporter. Archived from the original on April 9, 2016. Retrieved Jan 7, 2013.
  125. ^ "Hopper's Chop Suey in record-breaking $92m sale". BBC News. November xiv, 2018. Retrieved November xiv, 2018.
  126. ^ Scott Reyburn (November 13, 2018). "Hopper Painting Sells for Record $91.9 Million at Christie'south". The New York Times . Retrieved November 13, 2018.
  127. ^ Lor. (Oct 21, 1981). "Film Reviews: Hopper's Silence". Variety.
  128. ^ Gustav Deutsch brings Hopper'southward paintings alive. Retrieved on April 8, 2014
  129. ^ a b "Edward Hopper comes to the silvery screen". Phaidon Press. February 2013. Retrieved August 2, 2014.
  130. ^ Bosman, Julie (July xx, 2012). "The Original Hoppers". The New York Times . Retrieved August 2, 2014.
  131. ^ Raynor, Vivian (October 20, 1985). "Art:The Unusual, The Instructive And The Mysterious At Rutgers". The New York Times . Retrieved June three, 2014.
  132. ^ "Classic anthology covers:Beat out–OMD". Never Mind the Motorcoach Pass. Archived from the original on July 4, 2017. Retrieved May 28, 2017.
  133. ^ Martin Bernheimer, Hopper's Wife, New York Metropolis Opera, New York-'Ramblings and Rumblings', Financial Times, 2 May 2016. Retrieved 16 March 2019
  134. ^ Christine Dwyer Hickey, I Lost a Kidney and Gained a Novel, Irish gaelic Times, ix March 2019

References [edit]

  • Clause, Bonnie Tocher. Edward Hopper in Vermont. Hanover, N.H.: University Press of New England, 2012.
  • Goodrich, Lloyd. Edward Hopper. New York: H. N. Abrams, 1971.
  • Haskell, Barbara. Modernistic Life: Edward Hopper and His Fourth dimension. Hamburg: Bucerius Kunst Forum, 2009.
  • Healy, Pat. "Await at all the lonely people: MFA's 'Hopper' celebrates solitude", Metro newspaper, Tuesday, May eight, 2007, p. 18.
  • Kranzfelder, Ivo. Hopper. New York: Taschen, 1994.
  • Kuh, Katharine. Interview with Edward Hopper in Katherine Kuh, The Artist'south Voice: Talks with Seventeen Artists. New York: 1962, Di Capo Press, 2000. pp. 130–142.
  • Levin, Gail. Edward Hopper. New York: Crown, 1984.
  • Levin, Gail. Edward Hopper: A Catalogue Raisonne. New York: Norton, 1995).
  • Levin, Gail. Edward Hopper: An Intimate Biography (New York: Knopf, 1995; Rizzoli Books, 2007)
  • Levin, Gail. Edward Hopper: Gli anni della formazione (Milan: Electra Editrice, 1981)
  • Levin, Gail. Edward Hopper: The Art and the Artist (New York: Norton, 1980, London, 1981; Munich: Schirmer/Mosel, 1986)
  • Levin, Gail. Edward Hopper: The Complete Prints (New York: Norton, 1979, London, 1980; Munich: Schirmer/Mosel, 1986)
  • Levin, Gail. Edward Hopper equally Illustrator (New York: Norton, 1979, London, 1980) (archive)
  • Levin, Gail. Hopper's Places (New York: Knopf, 1985; 2nd expanded edition, University of California Press, 1998)
  • Levin, Gail. The Complete Oil Paintings of Edward Hopper (New York: Norton, 2001)
  • Lyons, Deborah, Brian O'Doherty. Edward Hopper: A Journal of His Work (New York: Norton, 1997)
  • Maker, Sherry. Edward Hopper (New York: Brompton Books, 1990)
  • Mecklenburg, Virginia Yard. Edward Hopper: The Watercolors (New York: Norton, 1999)
  • Renner, Rolf G. Edward Hopper 1882–1967: Transformation of the Existent (New York: Taschen, 1999)
  • Wagstaff, Sheena, Ed. Edward Hopper (London, Tate Publishing, London)
  • Wells, Walter. Silent Theater: The Art of Edward Hopper (London/New York: Phaidon, 2007). Winner of the 2009 Umhoefer Prize for Achievement in the Arts and Humanities.
  • Hopper, Edward (1931). Edward Hopper. New York: Whitney Museum of American Art.
  • Pabón, Gutierrez, Fernández, Martinez-Pietro (2013). "Linked Open Information technologies for publication of census microdata". Periodical of the American Society for Computer science and Technology. 64 (9): 1802–1814. doi:10.1002/asi.22876. hdl:10533/127539. {{cite journal}}: CS1 maint: multiple names: authors list (link)
  • Tziomis, Leatha (2012). Botticelli´s La Primavera: Painting the creation of human being ethics.
  • Kalin, Ian (2014). "Open up Information improves Democracy". SAIS Review of International Affairs. 34 (i): 59–seventy. doi:10.1353/sais.2014.0006. S2CID 154068669.

External links [edit]

  • Edward Hopper at the National Gallery of Art, Washington
  • An Edward Hopper Scrapbook compiled by the staff of the Smithsonian
  • Oral history interview with Edward Hopper, June 17, 1959 from the Smithsonian Archives of American Art
  • Exhaustive list of Hopper'southward works (in High german)
  • Gallery of Edward Hopper'south Paintings
  • Smithsonian Archives of American Fine art: Edward Hopper letter to Agnes Albert (1955)
  • "Edward Hopper all around Gloucester, MA" — 100+ paintings, drawings, and prints, with images and then and at present.
    • explore Google Maps: Locations of "Edward Hopper all around Gloucester" sites
  • Gloucester MA HarborWalk Edward Hopper Story Moment, with additional links, one stop along free public access walkway.
  • Biblioklept.org: Notes on Painting 1933
  • Edward Hopper House Art Center website — not-profit art center for contemporary art exhibitions at birthplace/babyhood home in Nyack

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Source: https://en.wikipedia.org/wiki/Edward_Hopper

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