Drawing inspiration from the mundane, Edward Hopper used his unique style to create hauntingly evocative scenes of everyday life, portraying the starkness of Main Street and exploring the visual vocabulary of light. Whether he set his scenes in offices, restaurants, hotels, gas stations, train compartments, or theaters, his favorite theme--the isolation of the individual--is always prominent. Many of Hopper's most brilliant works--from urban scenes to rural landscapes and from etchings to oil paintings--are represented here in a stunning portfolio of 70 full-color illustrations.
Illustrated by over 50 of Edward Hopper's most powerful evocations of New York, Avis Berman's essay explores how Hopper and his work illuminate each other by analyzing what his New York is - and is not. Ever the contrarian, he offers an alternative to what other American artists seized on - the new, the gigantic, the technologically exciting. Hopper stayed away from tourist attractions or landmarks of the city's glamorous skyline. His preference for nondescript vernacular buildings is emblematic of the larger Hopper paradox: he makes emptiness full, silence articulate, banality intense, plainness mysterious, and tawdriness noble.
Edward Hopper (1882-1967), one of the most important American painters of the twentieth century, spent nearly every summer of his long artistic career in New England. This book presents many of Hopper's finest paintings of the region and examines the crucial role New England played in Hopper's development as an artist. Carl Little is author of Paintings of Maine and is a regular contributor to Art New England and Art in America.
The creator of pictures that John Updike called "calm, silent, stoic, luminous, classic," Edward Hopper produced many works now considered icons of modern art. Canvases such as Drug Store, New York Movie, and the universally recognized (and often parodied) Nighthawks reshaped what painting looked like in America and devised a visual language for middle-class life and its discontents. This extensive new assessment of Hopper, which accompanies a major traveling exhibition, examines the dynamics of his creative process and discusses his work within the cutural currents of his day -- showing parallels not only with other painters but also with such media as literature and film. While most writers have tended to limit Hopper to being the great painter of alienation, this book takes a much broader, more nuanced, and ultimately more representative view of a highly complex, extremely varied artist. Spanning the entirety of Hopper's career, but with particular emphasis on his heyday in the twenties, thirties, and forties, Edward Hopper highlights his greatest achievements while discussing such topics as his absorbtion of European influences, critical reactions to his work, the relation of realism to modernism, his fascination with architecture, his depiction of women, and the struggle in his last years to produce original works. Illustrated with more than 150 of his oils, watercolors, prints, and drawings, and including essays by several noted scholars in the field and an extensive chronology and bibliography, this is the most comprehensive volume on Hopper to be published in many years. - Jacket flap.
A fascinating study of Edward Hopper's iconic Nighthawks painting and its deep significance for understanding American culture. Staying up Much Too Late discusses the painting Nighthawks and the painter Edward Hopper and their central importance to twentieth-century American culture. Topics include individualism, New York City, Arthur "Weegee" Fellig, diners, pornography, capitalism, advertising, cigarettes, American philosophy, World War II, Gravity's Rainbow, Blade Runner, Pulp Fiction, Russ Meyer, R. Crumb, David Lynch, and film noir What links these together is the painting's pessimistic take on American culture, which it also seems to epitomize. Despite its desolate feel, Nighthawks has become a familiar icon, reproduced on posters and postcards, in movies and on television shows. But Nighthawks is more than just a masterful painting. It is a portal into that rarely acknowledged but pervasive dark side of the American psyche.
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