Edward Hopper Bilder Künstlerportait von Edward Hopper
Edward Hopper war ein amerikanischer Maler des Amerikanischen Realismus. Hoppers in kühler Farbgebung gehaltene realistische Bilder weisen auf die Einsamkeit des modernen Menschen und Leere des modernen Lebens hin. Er gilt als Chronist der. Edward Hopper. Aquarium Fische, Skulpturen, Malerei, Schöne Hintern, Bilder, Edward Automat, Edward Hopper. edward EDWARD HOPPER - NIGHTHAWKS Bekannte Gemälde, Der Moderne Mensch, Melancholie, Alte Meister. Mai in New York City, New York) war ein amerikanischer Maler des Amerikanischen Realismus. Hoppers in kühler Farbgebung gehaltene realistische Bilder. Nighthawks (Nachtschwärmer) aus dem Jahr ist eines der populärsten Bilder des Jahrhunderts. Zu diesem Bild ließ sich Hopper von einem „Restaurant. Motive von Edward Hopper: ✓ Approaching a City ✓ Gas, ✓ Nighthawks ✓ Portrait of Orleans ✓ First Row Orchestra günstig kaufen.
Mai in New York City, New York) war ein amerikanischer Maler des Amerikanischen Realismus. Hoppers in kühler Farbgebung gehaltene realistische Bilder. Edward Hopper (–): Maler und Grafiker aus New York City, Edward Hoppers berühmtestes Bild ist „Nighthawks“, auf Deutsch. Bilder von Edward Hopper als Kunstdrucke Poster, Leinwandbilder und gerahmte Bilder. Jetzt günstig kaufen - auch auf Rechnung!
Edward and his only sister Marion attended both private and public schools. They were raised in a strict Baptist home.
His father had a mild nature, and the household was dominated by women: Hopper's mother, grandmother, sister, and maid. It serves as a nonprofit community cultural center featuring exhibitions, workshops, lectures, performances, and special events.
Hopper was a good student in grade school and showed talent in drawing at age five. He readily absorbed his father's intellectual tendencies and love of French and Russian cultures.
He also demonstrated his mother's artistic heritage. Hopper's parents encouraged his art and kept him amply supplied with materials, instructional magazines, and illustrated books with The Last Supper and The Scream.
By his teens, he was working in pen-and-ink, charcoal, watercolor, and oil—drawing from nature as well as making political cartoons.
It shows his early interest in nautical subjects. 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 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 like Las Meninas and Primavera Botticelli.
In high school, he dreamed of being a naval architect, but after graduation he declared his intention to follow an art career.
Hopper's parents insisted that he study commercial art to have a reliable means of income. In developing his self-image and individualistic philosophy of life, Hopper was influenced by the writings of Ralph Waldo Emerson.
He later said, "I admire him greatly I read him over and over again. There he studied for six years, with teachers including William Merritt Chase, who instructed him in Edward Hopper oil painting.
Sketching from live models proved a challenge and a shock for the conservatively raised Hopper. Another of his teachers, artist Robert Henri, taught life class.
Henri encouraged his students to use their art to "make a stir in the world". He also advised his students, "It isn't the subject that counts but what you feel about it" and "Forget about art and paint pictures of what interests you in life.
He encouraged them to imbue a modern spirit in their work. Hopper's first existing oil painting to hint at his famous interiors was Solitary Figure in a Theater c.
During his student years, he also painted dozens of nudes, still life studies, landscapes, and portraits, including his self-portraits.
In , Hopper landed a part-time job with an advertising agency, where he created cover designs for trade magazines.
Hopper came to detest illustration. He was bound to it by economic necessity until the mids. He temporarily escaped by making three trips to Europe, each centered in Paris, ostensibly to study the emerging art scene there.
In fact, however, he studied alone and seemed mostly unaffected by the new currents in art. Later he said that he "didn't remember having heard of Picasso at all.
Then he shifted to the lighter palette of the Impressionists before returning to the darker palette with which he was comfortable.
Hopper later said, "I got over that and later things done in Paris were more the kind of things I do now. Unlike many of his contemporaries who imitated the abstract cubist experiments, Hopper was attracted to realist art.
Years of struggle After returning from his last European trip, Hopper rented a studio in New York City, where he struggled to define his own style.
Reluctantly, he returned to illustration. Being a freelancer, Hopper was forced to solicit for projects, and had to knock on the doors of magazine and agency offices to find business.
Edward Hopper painting languished: "it's hard for me to decide what I want to paint. I go for months without finding it sometimes.
It comes slowly. He painted Squam Light, the first of many lighthouse paintings to come. Hopper was thirty-one, and although he hoped his first sale would lead to others in short order, his career would not catch on for many more years to come.
He continued to participate in group exhibitions at smaller venues, such as MacDowell Club of New York.
Shortly after his father's death that same year, Hopper moved to the 3 Washington Square North apartment in the Greenwich Village section of Manhattan where he would live for the rest of his life.
The following year he received a commission to make some movie posters and handle publicity for a movie company.
Although he did not like the illustration work, The Birth of Venus , and Iris Van Gogh , Hopper was a lifelong devotee of the cinema and the theatre, both of which became subjects for Edward Hopper paintings.
Each form influenced his compositional methods. At an impasse over his oil paintings, in Hopper turned to etching.
By he had produced most of approximately 70 Edward Hopper works in this medium, many of urban scenes of both Paris and New York. He also produced some posters for the war effort, as well as continuing with occasional commercial projects.
When he could, Hopper did some outdoor watercolors on visits to New England, especially at the art colonies at Ogunquit, and Monhegan Island.
During the early s his etchings began to receive public recognition. He also painted two of his many "window" paintings to come: Girl at Sewing Machine and Moonlight Interior, both of which show a figure clothed or nude near a window of an apartment viewed as gazing out or from the outside looking in.
Although these were frustrating years, they did not go by completely without recognition. In , Hopper was awarded the U. Shipping Board Prize for his war poster, "Smash the Hun," and he was able to exhibit on three occasions: in with the Society of Independent Artists, in January a one-man exhibition at the Whitney Studio Club, which was the precursor to the Whitney Museum , and in again with the Whitney Studio Club.
Bryan Prize. Marriage and breakthrough By , Hopper's slow climb finally produced a breakthrough. He re-encountered his future wife Josephine Nivison, an artist and former student of Robert Henri, during a summer painting trip in Gloucester, Massachusetts.
They were opposites: she was short, open, gregarious, sociable, and liberal, while he was tall, secretive, shy, quiet, introspective, and conservative.
They married a year later. She remarked famously, "Sometimes talking to Eddie is just like dropping a stone in a well, except that it doesn't thump when it hits bottom.
The rest of their lives revolved around their spare walk-up apartment in the city and their summers in South Truro on Cape Cod.
She managed his career and his interviews, was his primary model, and was his life companion. With Nivison's help, six of Hopper's Gloucester watercolors were admitted to an exhibit at the Brooklyn Museum in The critics generally raved about Edward Hopper work; one stated, "What vitality, force and directness!
Observe what can be done with the homeliest subject. The artist had demonstrated his ability to transfer his attraction 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 ornament cast wonderful shadows.
He always said that his favorite thing was painting sunlight on the side of a house. He continued to harbor bitterness about his career, later turning down appearances and awards.
His financial stability now secured, Hopper would live a simple, stable life and continue creating art in his distinctive style for four more decades.
In , he produced Chop Suey and Railroad Sunset. Hopper painted his last self-portrait in oil around Although she posed for many of Edward Hopper paintings, Josephine modeled for only one formal oil portrait by her husband, Jo Painting Hopper fared better than many other artists during the Great Depression.
His stature took a sharp rise in when major museums, including the Whitney Museum of American Art and the Metropolitan Museum of Art, paid thousands of dollars for Edward Hopper works.
He sold 30 Edward Hopper paintings that year, including 13 watercolors. The following year he participated in the first Whitney Annual, and he continued to exhibit in every annual at the museum for the rest of his life.
In , the Museum of Modern Art gave Hopper his first large-scale retrospective. Loan from the Whitney Museum. They returned to South Truro every summer for the rest of their lives, building their summer house there in From there, they would take driving trips into other areas when Edward needed to search for fresh material to paint.
These scenes are atypical among Hopper's mature works, as most are "pure" landscapes, devoid of architecture or human figures.
Hopper was very productive through the s and early s, producing among many important works New York Movie , Girlie Show , Nighthawks , Hotel Lobby , and Morning in a City During the late s, however, he suffered a period of relative inactivity.
He admitted, "I wish I could paint more. I get sick of reading and going to the movies. Nonetheless, in the s and early s, he created several more major Edward Hopper works, including First Row Orchestra ; as well as Morning Sun and Hotel by a Railroad, both in ; and Intermission in His wife, who died ten months later, bequeathed their joint collection of more than three thousand Edward Hopper works to the Whitney Museum of American Art.
Art Personality and vision Always reluctant to discuss himself and his art, Hopper simply summed up his art by stating, "The whole answer is there on the canvas.
Hopper was someone drawn to an emblematic, anti-narrative symbolism, who "painted short isolated moments of configuration, saturated with suggestion".
His silent spaces and uneasy encounters "touch us where we are most vulnerable", and have "a suggestion of melancholy, that melancholy being enacted".
His sense of color revealed him as a pure painter as he "turned the Puritan into the purist, in his quiet canvasses where blemishes and blessings balance".
According 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".
Conservative in politics and social matters Hopper asserted for example that "artists' lives should be written by people very close to them" , he accepted things as they were and displayed a lack of idealism.
Cultured and sophisticated, he was well-read, and many of Edward Hopper paintings show figures reading unlike Cafe Terrace at Night and Impression Sunrise.
He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy, or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.
Hopper's most systematic declaration of his philosophy as an artist was given in a handwritten note, entitled "Statement", submitted in to the journal, Reality: Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world.
No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception.
Though Hopper claimed that he didn't consciously embed psychological meaning in Edward Hopper paintings, he was deeply interested in Freud and the power of the subconscious mind.
He wrote in , "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 conscious intellect.
Additionally, his notebooks contain high-quality pen and pencil sketches, which were never meant for public viewing.
Hopper paid particular attention to geometrical design and the careful placement of human figures in proper balance with their environment.
He was a slow and methodical artist; as he wrote, "It takes a long time for an idea to strike. Then 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 right when I get to the easel". He often made preparatory sketches to work out his carefully calculated compositions.
He and his wife kept a detailed ledger of their works noting such items as "sad face of woman unlit", "electric light from ceiling", and "thighs cooler".
For New York Movie , Hopper demonstrates his thorough preparation with more than 53 sketches of the theater interior and the figure of the pensive usherette.
The effective use of light and shadow to create mood also is central to Hopper's methods. Bright sunlight as an emblem of insight or revelation , and the shadows it casts, also play symbolically powerful roles in Hopper paintings such as Early Sunday Morning , Summertime , Seven A.
His use of light and shadow effects have been compared to the cinematography of film noir. Although a realist painter, Hopper's "soft" realism simplified shapes and details.
He used saturated color to heighten contrast and create mood. Subjects and themes Hopper derived his subject 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 two, seascapes and rural landscapes.
Regarding his style, Hopper defined himself as "an amalgam of many races" and not a member of any school, particularly the "Ashcan School".
Once Hopper achieved his mature style, his art remained consistent and self-contained, in spite of the numerous art trends that came and went during his long career.
Hopper's seascapes fall into three main groups: pure landscapes of rocks, sea, and beach grass; lighthouses and farmhouses; and sailboats.
Sometimes he combined these elements. Most of these Edward Hopper paintings depict strong light and fair weather; he showed little interest in snow or rain scenes, Starry Night Van Gogh , Picasso Guernica , or in seasonal color changes.
He painted the majority of the pure seascapes in the period between and on Monhegan Island. Hopper's The Long Leg is a nearly all-blue sailing picture with the simplest of elements, while his Ground Swell is more complex and depicts a group of youngsters out for a sail, a theme reminiscent of Winslow Homer's iconic Breezing Up Urban architecture and cityscapes also were major subjects for Hopper.
He was fascinated with the American urban scene, "our native architecture with its hideous beauty, its fantastic roofs, pseudo-gothic, French Mansard, Colonial, mongrel or what not, with eye-searing color or delicate harmonies of faded paint, shouldering one another along interminable streets that taper off into swamps or dump heaps.
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 Edward Hopper artwork as "one of the most poignant and desolating pieces of realism.
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.
Most of Hopper's figure paintings focus on the subtle interaction of human beings with their environment—carried out with solo figures, couples, or groups.
His primary 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.
As if he were creating stills for a movie or tableaux in a play, Hopper positioned his characters as if they were captured just before or just after the climax of a scene.
Hopper's solitary figures are mostly women—dressed, semi-clad, and nude—often reading or looking out a window, or in the workplace.
In the early s, Hopper painted his first such images Girl at Sewing Machine , New York Interior another woman sewing , and Moonlight Interior a nude getting into bed Automat and Hotel Room , however, are more representative of his mature style, emphasizing the solitude more overtly.
In the first, a young couple appear alienated and uncommunicative—he reading the newspaper 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's lack of intimacy.
In the latter Edward Hopper painting, an older couple with little to say to each other, are playing with their dog, whose own attention is drawn away from his masters.
Hopper takes the couple theme to a more ambitious level with Excursion into Philosophy A middle-aged man sits dejectedly on the edge of a bed.
It was first established in , but the present structure was built in Whitney Museum of American Art?
There are several watercolours from the s that show lights in the background, or in the distance, sometimes difficult to identify.
Below is a far-away view of two three?? This light, small and cute as it is, features in one of the more exquisite watercolours that Hopper ever painted: plain, gleaming with the tidiest mid-morning sunlight, overflowing with grace and easiness and charm.
I just love it. Finally I present this other light unknown to me —and maybe unreal—, figuring in one of the several paintings Hopper titled with a hour of the day all of them are as charming as personal and subjective in extreme.
So, this light of which I have only found a relatively reliable reference: Ten Pound Island Light, near the eastern end of Gloucester harbour might not represent any actual building, but just an idealized one, and the place could be equally imagined even if inspired by the reference noted above :.
Roland P. Murdock Collection. Some others have been found in fine sites on American Art. My criterium and editions are of course subjective and, maybe, unreliable, considering that I have never been in the US and, so, never seen a single one of the original paintings shown here.
B Collections, which have provided me with some worthy criteria. Furthermore, after looking carefully at dozens of reproductions of a particular artwork, one gets a fair idea of how it might actually look.
No unauthorised copying or redistribution. All Rights Reserved. Like Liked by 1 person. A big hug, John, dear. Whatever you decide to show and talk about in your posts is always exellent!
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