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Topic: Edward Hopper


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  Edward Hopper - MSN Encarta
Hopper was born on July 22, 1882, in Nyack, New York, and studied illustration in New York City at a commercial art school from 1899 to 1900.
Although one of Hopper's paintings was exhibited in the famous Armory Show of 1913 in New York City, his work excited little interest, and he was obliged to work principally as a commercial illustrator for the next decade.
Although Hopper's work was outside the mainstream of mid-20th-century abstraction, his simplified schematic style was one of the influences on the later representational revival and on pop art.
encarta.msn.com /encyclopedia_761559539/Hopper_Edward.html   (378 words)

  
 Edward Hopper
Hopper was able to repeat his trip to Europe in 1909 and 1910.
His contemporary the painter Charles Burchfield wrote: 'With Hopper the whole fabric of his art seems to be interwoven with his personal character and manner of living.' When the link between the outer world he observed and the inner world of feeling and fantasy broke, Hopper found he was unable to create.
Edward Hopper: The Watercolors, by Virginia M. Mecklenburg.
www.artchive.com /artchive/H/hopper.html   (1533 words)

  
 Edward Hopper   (Site not responding. Last check: 2007-10-16)
Edward Hopper (1882-1967) was gifted with the ability to produce such works of art whose messages are just as compelling today as they were in the first half of the twentieth century.
Hopper's own judgment by his peers was a major factor in shaping both the personal and the artistic aspects of his life.
Hopper used a lot of architecture in his works, because of the powerful vertical and horizontal lines and shapes that provided rhythm to his paintings.
www.missouri.edu /~bkuc97/edhopper.html   (1359 words)

  
 Edward Hopper: Cubist in Disguise? - artnet Magazine
Hopper is a kind of Cubist, treating buildings as abstract structures with a life of their own, and often more uncannily alive than the people who use them.
Hopper registers their effect on the people who live and work in them: his buildings raise the pressing question of when a house becomes a home -- an empathic place, more humanly meaningful than an abstract castle.
For Hopper, the complete separation of the real and the abstract, and the depreciation of realistic representation and the elevation of pure abstraction as the be-all and end-all of art -- its transcendental fundament, so to speak -- was not the advance in artistic wisdom the modernists claimed it to be.
www.artnet.com /magazineus/features/kuspit/kuspit11-22-06.asp   (1993 words)

  
 Edward Hopper Biography   (Site not responding. Last check: 2007-10-16)
Edward Hopper also painted public places: see Nighthawks (1942) and Chop Suey (1929), often visiting cinemas as in New York Movie (1939), there is often a cinematic quality to his work.
Edward Hopper transferred from the New York School of Illustrating to the New York School of Art where he studied, firstly under William Merritt Chase (1849-1916), an admirer of John Singer Sargent - see Boats at Anchor.
In 1923 Edward Hopper settled in Greenwich Village, his base for the rest of his life and in 1924 he married Josephine Nivison, a fellow artist and student under Chase and Henri, who shared his love of France.
www.popartuk.com /art/edward-hopper/bio.asp   (861 words)

  
 Edward Hopper Biography | Encyclopedia of World Biography
Edward Hopper was born on July 22, 1882, in Nyack, N.Y. At 17 he entered a New York school for illustrators; then from 1900 he studied for about 6 years at the New York School of Art, mostly under Robert Henri, whose emphasis on contemporary life strongly influenced him.
Hopper's portrayal of the American small town showed a full awareness of what to others might seem its ugly aspects: the stark New England houses and churches, the pretentious flamboyance of late-19th-century mansions, the unpainted tenements of run-down sections.
In his landscapes Hopper broke with the academic idyllicism that focused on unspoiled nature and ignored the works of man. Those prominent features of the American landscape, the railroad and the automobile highway, were essential elements in his works.
www.bookrags.com /biography/edward-hopper   (881 words)

  
 Hopper, Edward: Nighthawks (via CobWeb/3.1 planetlab-2.cs.princeton.edu)   (Site not responding. Last check: 2007-10-16)
Hopper did not actually observe them, because he used himself as a model for both the seated men, as if he perceived men in this situation as clones.
He was a difficult man, and Jo was far more emotionally involved with him than he with her; one of her methods of keeping him with her was to insist that only she would be his model.
I see the nighthawks of the picture not so much as birds of prey, but simply as birds: great winged creatures that should be free in the sky, but instead are shut in, dazed and miserable, with their heads constantly banging against the glass of the world's callousness.
www.artchive.com.cob-web.org:8888 /artchive/H/hopper/nighthwk.jpg.html   (431 words)

  
 NPR : Nighthawks, Present at the Creation
Hopper was already a success by the time he painted Nighthawks, having had his first one-man show in January of 1920 at the Whitney Studio Club in Greenwich Village.
Hopper's wife, Josephine, was a former actress, and a painter.
Hopper's acclaim continued to grow during his lifetime, but instead of trading his fame for influence in the New York social scene, the artist apparently preferred the privacy of his studio, or his house on Cape Cod.
www.npr.org /programs/morning/features/patc/nighthawks   (1002 words)

  
 Edward Hopper   (Site not responding. Last check: 2007-10-16)
Hopper travelled to Europe three times between 1906 and 1910, but he remained untouched by the experimental work then blossoming in France and continued throughout his career to follow his own artistic course.
This isolation of his subjects was heightened by Hopper's characteristic use of light to insulate persons and objects in space, whether in the harsh morning light (" Early Sunday Morning," 1930; Whitney Museum of American Art, New York City) or the eerie light of an all-night coffee stand ("Nighthawks," 1942; Art Institute of Chicago).
Hopper's mature style was already formed by the mid-1920s.
www.writing.upenn.edu /~afilreis/88/hopper.html   (329 words)

  
 Image Analysis of Edward Hopper's "Room in New York"   (Site not responding. Last check: 2007-10-16)
Edward Hopper presents a snapshot of American life in his 1932 oil painting, Room in New York.
Since Hopper uses realistic representations of his subjects, he relies on their body language to convey the message of the painting.
Hopper's color scheme both sets apart the characters from the rest of the background and gives more insight into how the painting relates to people and society as a whole.
web.missouri.edu /~bkuc97/roomnny.html   (1171 words)

  
 Edward Hopper: The Paris Years
Hopper discovered the poetry and critical writing of Charles-Pierre Baudelaire (1821 - 1867) whose formulation of his aesthetic theory served as the inspiration for the Symbolist movement away from painting by observation to an expression of more subjective intellectual and emotional visions.
Hopper's figures in his mature work seem far from home, they sit or stand alone, looking at a letter on the edge of a hotel bed or drinking alone in a bar or gazing out the window of a moving train.
Edward Hopper was 43 years old before painting what is generally acknowledged to be his first fully mature picture, The House by the Railroad, in 1925.
www.tfaoi.com /aa/3aa/3aa439.htm   (1287 words)

  
 Edward Hopper (1882-1967)   (Site not responding. Last check: 2007-10-16)
Hopper had, however, a sure sense of his importance and a strong conviction that his way was the right way to paint, particularly when confronted with abstract expressionism.
Edward Hopper was born into a religious-minded middle-class Baptist family in Nyack on the Hudson River.
Hopper was a huge silent hulk, Jo a tiny, social, chattering person often furious at her husband who rejected and ignored her.
www.annieproulx.com /essay_oct_2004.html   (3727 words)

  
 WebMuseum: Hopper, Edward (via CobWeb/3.1 planetlab-2.cs.princeton.edu)   (Site not responding. Last check: 2007-10-16)
Edward Hopper painted American landscapes and cityscapes with a disturbing truth, expressing the world around him as a chilling, alienating, and often vacuous place.
Hopper soon gained a widespread reputation as the artist who gave visual form to the loneliness and boredom of life in the big city.
Edward Hopper has something of the lonely gravity peculiar to Thomas Eakins, a courageous fidelity to life as he feels it to be.
www.ibiblio.org.cob-web.org:8888 /wm/paint/auth/hopper   (433 words)

  
 Tate Modern | Past Exhibitions | Edward Hopper
Edward Hopper (1882-1967) is considered to be one of America's greatest modern painters.
Hopper believed that the artist's goal was to reveal the truth about the everyday and the interior life of ordinary people.
Another major theme of Hopper's work is the use of American venacular architecture, often cropped in a way to increase psychological tension and heighten the feeling of isolation.
www.tate.org.uk /modern/exhibitions/hopper/about.htm   (252 words)

  
 Edward Hopper
Hopper’s images now voyage across the decades, cultures and geographies …easily accessible referents that frequently project themselves on everyday experience…Better to say that Hopper was one of the twentieth century’s greatest artists, great in terms of the rewards he promises and delivers.”
When Jo Hopper died eight months later she left the entire contents of the New York Studio to the Whitney Museum and their Cape Cod home in Truro to her friend Mary Schiffenhaus.
They are not studies in the true sense, as Hopper, particularly on his later works, had essentially solved the structural and compositional issues of a new painting in his mind.
www.findlay.com /pages/Hopper.htm   (402 words)

  
 Edward Hopper's Paintings: Nighthawks
Edward Hopper painted Nighthawks as an oil on canvas in 1942.
Although Hopper denied that he purposely infused any of his paintings with symbols of isolation and emptiness, he acknowledged of Nighthawks that, 'unconsciously, probably, I was painting the loneliness of a large city.'
Robert Hughes, the author of American Visions: The Epic History of Art in America, has written that "Edward Hopper was the quintessential realist painter of twentieth-century America." The American public agrees with the art experts when it comes to Hopper.
www.edwardhopper.info /painting/Nighthawks.html   (585 words)

  
 Edward Hopper - Wikipedia, the free encyclopedia
Edward Hopper (July 22, 1882 – May 15, 1967) was an American painter best remembered for his eerily realistic depictions of solitude in contemporary American life.
Upon completing his formal education, Hopper made three trips to Europe to study the emerging art scene there, but unlike many of his contemporaries who imitated the abstract cubist experiments, the idealism of the realist painters enamored Hopper.
Here too, Hopper's work exploits vast empty spaces, represented by a lonely gas station astride an empty country road and the sharp contrast between the natural light of the sky, moderated by the lush forest, and glaring artificial light coming from inside the gas station.
en.wikipedia.org /wiki/Edward_Hopper   (750 words)

  
 Edward Hopper | Chronology
July 22, Edward Hopper born in Nyack, New York, son of Garret Henry Hopper and Elizabeth Griffiths Smith Hopper, initially attends a private school and then the local public school, Nyack High School.
In July Hopper and his wife move into the studio/house that he has designed in South Truro (where they spent most of their successive summers).
Hopper was one of four artists chosen by the American Federation of Arts to represent the United States in the Venice Biennale.
www.leninimports.com /edward_hopper_chro.html   (777 words)

  
 EDWARD HOPPER 1882
Hopper's fascination with the abstract shapes of Shoshone Cliffs, Wy. recalls the many oil paintings of Monhegan Island's rocky shore that he had produced in Maine during the late 1910s.
The scene is the closest Hopper ever came to expressing sympathy with the masses.
In her husband's record book, Josephine Hopper noted that the grey steps were dark and that the terrace was sooty; she identified the glum, lonely figure of a man with red hair as a Pole, picking an immigrant ethnic working-class group of that region.
www.butlerart.com /pc_book/pages/edward_hopper_1882.htm   (740 words)

  
 Edward Hopper
Hopper was born in New York in 1882 and died there in 1967.He married the painter Josephine Verstille Nivision in 1924, they lived in New York and in their summer house in South Truro, Massachusetts, on Cape Cod.
Hopper had always been a very talented artist, but in 1924," Hopper was given a one-person show at the Frank K.M. Rehn Gallery and all of the art in the gallery was sold," and that's when Edward Hopper became known throughout the world.
Hopper is the first artist to recognize that visual images in the twentieth century have become so common that they have also become expendable.He plays on the way individual images become
homepage.mac.com /mseffie/student_work/team_unit/hopper/hopper.html   (323 words)

  
 Online NewsHour: Richard Rodriguez on Edward Hopper -- October 4, 1995
Edward Hopper is not an American in the way we speak of Mark Twain or George Gerswhin, as being characteristically American.
In the America of Edward Hopper, all specificity is wiped away.
Hopper, himself, was born in Nyack, New York, in 1882.
www.pbs.org /newshour/essays/hopper_essay.html   (598 words)

  
 P22 Hopper   (Site not responding. Last check: 2007-10-16)
This font set is based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art.
Both artists kept a record of Edward's paintings in a series of journals, which provide the basis for this set.
The Edward Hopper font is typically masculine, with its sharp angularity, while the Josephine Hopper font presents an interesting contrast, given its elegant, rounded shape, with significantly more flourish.
www.p22.com /products/hopper.html   (124 words)

  
 Edward Hopper: The Watercolors
Hopper visited Cape Cod for the first time in 1930 and he and Jo returned each summer to paint, building a modest house there in 1934.
Edward Hopper's regular forays in watercolor ended with a trip West and into Mexico in 1946.
An Edward Hopper Scrapbook of artwork and archival ephemera from throughout Hopper's career will be on view starting September 7 at http://www.nmaa.si.edu/hopper.
www.tfaoi.com /newsm1/n1m461.htm   (1320 words)

  
 Eye Contact: Modern American Portrait Drawings from the National Portrait Gallery
Edward Hopper was twenty-one when he created this quietly confident charcoal self-portrait.
Hopper's depiction of himself in a jacket and roll-neck sweater (precursor of today's turtleneck) demonstrates his wish to be seen as youthful, unpretentious, and modern.
Although two decades would pass before Hopper attained recognition for his realist paintings, this drawing already indicates Hopper's concern with the psychology of the individual.
www.npg.si.edu /cexh/eye/html/l_hopper.htm   (140 words)

  
 The Art Institute of Chicago: Art Access
Although trained as an illustrator, Edward Hopper spent five years studying painting under Robert Henri, a member of the Ashcan School of painters who focused on the gritty realities of the city.
The Ashcan School influenced Hopper’s style, though he tended to depict not the chaos of urban living but the sense of urban isolation.
Hopper explained that Nighthawks was inspired by "a restaurant on New York’s Greenwich Avenue where two streets meet." The diner has since been destroyed, but the image, with its carefully constructed composition and lack of narrative, has a timeless quality that transcends any particular location.
www.artic.edu /artaccess/AA_Modern/pages/MOD_7.shtml   (298 words)

  
 Edward Hopper Biography   (Site not responding. Last check: 2007-10-16)
In the art of Edward Hopper (1882-1967), tense, unhappy men and women, in whom we recognize something of our neighbors and ourselves, play out mysterious dramas in silent, stripped-down spacesÄstages raked by an unrelenting and revealing light.
Hopper came from a middle-class family in the Hudson River town of Nyack, New York.
Deeply divided by temperamen--Jo was as vivacious, outgoing, and talkative as Edward was dour, repressed, and taciturn--and by his wounding contempt for her artistic ambitions, they nonetheless shared a deep love for French poetry and world literature, and for the plays and movies that came to resonate so powerfully in his art.
academic.brooklyn.cuny.edu /classics/jvsickle/jv-hopbi.htm   (580 words)

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