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Hopper Edward:     more books (100)

Edward Hopper & Company: Hopper's Influence on Photography by Edward Hopper, 2009-04-01 Edward Hopper 2011 Wall Calendar by Whitney Museum of Art, 2010-07-30 Edward Hopper: 1882-1967 Transformation of the Real (Basic Art) by Rolf G Renner, 1999-08-01 Staying Up Much Too Late: Edward Hopper's Nighthawks and the Dark Side of the American Psyche by Gordon Theisen, 2006-06-13 Edward Hopper: Portraits Of America (Pegasus) by Wieland Schmied, Edward Hopper, 2005-04-28 Edward Hopper, the Complete Prints by Gail Levin, 1979-12 Edward Hopper: A Journal of His Work by Edward Hopper, Deborah Lyons, et all 1997-11-17 Edward Hopper by Edward Hopper, Lloyd Goodrich, 1983-10 Edward Hopper and the American Imagination by Deborah Lyons, Edward Hopper, et all 1997-04-17 Hopper Drawings (Dover Art Library) by Edward Hopper, 1989-04-01 Edward Hopper 1882-1967. Transformation des Realen. by Rolf Günther Renner, 1999-12-01 Triangles of Light: The Edward Hopper Poems by James Hoggard, 2009-06-01 Edward Hopper (Artists in Their Time) by Emma Foa, 2003-03 Edward Hopper: A Catalogue Raisonne (Vol. 1-3) by Gail Levin, Edward Hopper, 2006-09-17

lists with details

21. Edward Hopper
    Biographie du peintre am ricain accompagn e d analyses de quelques uvres.  
    http://www.cineclubdecaen.com/peinture/peintres/hopper/hopper.htm

22. Hopper Edward - Switzerland | LinkedIn
    View Hopper Edward's (Switzerland) professional profile on LinkedIn. LinkedIn is the world's largest business network, helping professionals like Hopper Edward discover  
    http://www.linkedin.com/pub/hopper-edward/1a/6b0/1a8

23. EDWARD HOPPER 1882
    Two of Hopper s works, with commentary.  
    http://www.butlerart.com/pc_book/pages/edward_hopper_1882.htm
    
    Extractions: S hoeshine Cliffs, Wy. (Fig. 1) is one of three watercolors that Edward Hopper painted during an automobile trip to the West Coast in 1941 He and his wife, the painter Josephine Nivison Hopper, spent eight nights in Shoshone Valley, Wyoming. There, on July 9 Hopper began this picture at the base of the Holy City rock formations. The dramatic red sandstone rocks prompted him to work outdoors, near the river at the bottom of the escarpment, rather than to paint in his parked car as was his Custom. His progress on what was an atypical subject for him was disturbed by rainy weather. Three days passed before he could return to the site. Finally, on July 15 Hopper was able to finish his watercolor and he and his wife headed back to the East Coast. In addition to this drive to the West Coast in 1941 Hopper had traveled in the Midwest as an exhibition juror. Such trips prompted him to turn from his usual locations in New York City and New England to focus on the look of other regions. Fiction set in regional America also aroused his imagination. When an interviewer asked what he thought of the work of Theodore Dreiser or Sherwood Anderson, he had replied, "They're a little too Midwestern for me." On another occasion, although he called Sinclair Lewis "a fathead," he admitted that Dreiser was "all right," and he expressed unusual enthusiasm for Anderson, pronouncing him "a good writer."

24. The Lighthouse At Two Lights | Edward Hopper | Modern Art | Collection Database
    Photograph and notes on the famous painting from the Metropolitan Museum of Art.  
    http://www.metmuseum.org/collections/view1.asp?dep=21&item=62.95

25. Hopper, Edward: Nighthawks
    Use the Image Viewer to resize the image to fit your screen, display as a thumbnail, zoom in up to 200%, or even change the background color. Text from Sister Wendy's American  
    http://www.artchive.com/artchive/H/hopper/nighthwk.jpg.html

26. Edward Hopper S A Woman In The Sun
    A brief excerpt from Ray Carney s writing about painting in American Vision .  
    http://people.bu.edu/rcarney/ampaintings/hopper.htm
    
    Extractions: The following material is a brief excerpt from Ray Carney's writing about American painting. To obtain the complete text of this piece or to read more discussions of American art, thought, and culture by Prof. Carney, please consult any of the three following books: American Vision (Cambridge University Press); Morris Dickstein, ed. The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture (Duke University Press); and Townsend Ludington, ed. A Modern Mosaic: Art and Modernism in the United States (University of North Carolina Press). Information about how to obtain these books is available by clicking here Excerpts from Ray Carney's American Vision Click here for best printing of text When John Sloan dismissed French Impressionist work in toto as "eyesight painting," his remark went to the heart of the difference between the two traditions. Homer, and the painters within the tradition with which Sloan sought to affiliate himself, are engaged in a deliberate attempt to move beyond the perceptions of the social, sexual, and physical eye–to open another eye in our being altogether: an eye not of sight (though it A Woman in the Sun

27. Edward Hopper — Infoplease.com
    Encyclopedia Hopper, Edward. Hopper, Edward, 1882–1967, American painter and engraver, b. Nyack, N.Y., studied in New York City with Robert Henri.  
    http://www.infoplease.com/ce6/people/A0824169.html

28. Sheldon Museum Of Art: Collection
    Artist s biography and Images of his works.  
    http://www.sheldonartgallery.org/collection/index.html?topic=artistdetail&clct_a

29. HOPPER, Edward - Art Icono
    Iconographie de l'art, index d'artistes, documents sur l'art. 191205 HOPPER, Edward. HOPPER, Edward, Hopper's Places, Gail Levin, Alfred A. Knopf, , 1985.  
    http://phomul.canalblog.com/archives/hopper__edward/index.html

30. Search Artists / American Art
    A series of short biographies about the painter provided by The Smithsonian American Art Museum.  
    http://americanart.si.edu/search/artist_bio.cfm?StartRow=1&ID=2297&skip=1&CFID=2

31. Hopper, Edward / (Portrait Of Marion Hopper) / Ca. 1905-1906
    This image is one of over 108,000 from the AMICA Library (formerly The Art Museum Image Consortium Library The AMICO Libraryâ„¢), a growing online collection of high-quality  
    http://www.davidrumsey.com/amica/amico5106331-124564.html
    
    Extractions: Gain access to this incredible resource through either a monthly or a yearly subscription and search the entire collection from your desktop, compare multiple images side by side and zoom into the minute details of the images. Visit www.davidrumsey.com/amica for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at amica@luna-img.com

32. Hopper
    Sample artworks and a brief biography of the American realist painter.  
    http://www.mcs.csueastbay.edu/~malek/Hopper.htm
    
    Extractions: 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. Around 1901 he switched to painting and studied at the New York School of Art until 1906, largely under Robert Henri. He made three trips to Europe between 1906 and 1910 but remained unaffected by current French and Spanish experiments in cubism. He was influenced mainly by the great European realists—Diego Velazquez, Francisco de Goya, Honore Daumier, Edouard Manet—whose work had first been introduced to him by his New York City teachers. His early paintings, such as Le pavillon de flore, were committed to realism and exhibited some of the basic characteristics that he was to retain throughout his career: compositional style based on simple, large geometric forms; flat masses of color; and the use of architectural elements in his scenes for their strong verticals, horizontals, and diagonals. 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. In 1925 he painted House by the Railroad, a landmark in American art that marked the advent of his mature style. The emphasis on blunt shapes and angles and the stark play of light and shadow were in keeping with his earlier work, but the mood—which was the real subject of the painting—was new: It conveyed an atmosphere of all-embracing loneliness and almost eerie solitude.

33. Hopper, Edward
    Edward Hopper (July 22, 1882 – May 15, 1967) was one of the foremost realists among twentieth century American artists. Although he supported himself initially through  
    http://www.newworldencyclopedia.org/entry/Edward_Hopper
    
    Extractions: Jump to: navigation search Previous (Edward Herbert Thompson) Next (Edward III of England) Edward Hopper Road in Maine. 1914. Whitney Museum of American Art, New York City Edward Hopper (July 22, 1882 – May 15, 1967) was one of the foremost realists among twentieth century American artists. Although he supported himself initially through illustration he was also known for his etchings . He is best remembered for his vision of contemporary urban life and its accompanying loneliness and alienation . His work has been noted for its dramatic use of light and color and for infusing his subject matter with an eerie sense of isolation that borders on foreboding - thus the term Hopperesque. After he began spending summers in Gloucester, Massachusets his art focused on watercolors of sailboats, lighthouses, seascapes and American Victorian architecture. The Mansard Roof painting that he did his first summer there was his breakthrough piece that brought him to public attention at the age of 40. Later his signature works would become more urban in subject. His paintings of buildings and

34. An Edward Hopper Scrapbook / American Art
    Photographic record of the artist provided by the Smithsonian National Museum of American Art.  
    http://www.americanart.si.edu/hopper/
    
    Extractions: This scrapbook, compiled by the staff of the Smithsonian American Art Museum, offers a glimpse into Hopper's life, his friends, and the paintings that have fascinated art lovers worldwide ever since Hopper first came to prominence during the mid 1920s. Thumb through the scrapbook page by page or find specific items according to the themes listed on the left.

35. Hopper, Edward | Define Hopper, Edward At Dictionary.com
    Cultural Dictionary Hopper, Edward definition A twentiethcentury American artist whose stark, precisely realistic paintings often convey a mood of solitude and isolation  
    http://dictionary.reference.com/browse/hopper, edward?qsrc=2446

36. Hopper, Edward Biography - S9.com
    1882 – He was born on the 22nd of July this year in the small Hudson River town of Nyack, New York State, just outside Manhattan. He enrolled at the Correspondence School of  
    http://www.s9.com/Biography/Hopper-Edward

37. Hopper, Edward / (Seated Male Nude With Painter In Background) / (1903)-(1906)
    Hopper, Edward (Seated Male Nude with Painter in Background) (1903)(1906) View Larger Image View Full Catalog Record Below  
    http://www.davidrumsey.com/amica/amico5106386-124619.html
    
    Extractions: Gain access to this incredible resource through either a monthly or a yearly subscription and search the entire collection from your desktop, compare multiple images side by side and zoom into the minute details of the images. Visit www.davidrumsey.com/amica for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at amica@luna-img.com

38. Artnet.com: Resource Library: Hopper, Edward
    Hopper, Edward (b Nyack, NY, 22 July 1882; d New York, 15 May 1967). American painter, printmaker and illustrator. He was brought up in a town on the Hudson River, where he  
    http://www.artnet.com/library/03/0389/T038913.asp

39. Hopper, Edward | Define Hopper, Edward At Dictionary.com
    Cultural Dictionary Hopper, Edward definition A twentiethcentury American artist whose stark, precisely realistic paintings often convey a mood of solitude and isolation  
    http://dictionary.reference.com/browse/hopper, edward

40. WebMuseum: Hopper, Edward: House By The Railroad
    1925 (130 Kb); Oil on canvas, 60.9 x 73.6 cm (24 x 29 in) Hopper frequently used a straight. horizontal motif, usually a road or railroad track. to construct the space within  
    http://www.ibiblio.org/wm/paint/auth/hopper/landscapes/railroad/
    
    Extractions: 1925 (130 Kb); Oil on canvas, 60.9 x 73.6 cm (24 x 29 in) Hopper frequently used a straight. horizontal motif, usually a road or railroad track. to construct the space within the picture and to emphasize the division between the picture space and the viewer's world. Indeed, the more the viewer tries to penetrate the depths of a Hopper painting, the more impenetrable it becomes. What holds the viewer is that the artist's vision seems under control and yet, on closer inspection, the viewer realizes that the visible surface is a tissue of improbabilities and unreadable shifts in space. Hopper's view that nature and the contemporary world were incoherent contributed to his artistic vision. Indications of the structure of the house were brushed in with a minimum of black paint in a turpentine mixture. The columns and windows on the right shadowed side of the house clearly show this. The house was then painted from dark to light: Hopper gradually added more oil paint to the turpentine and built up the forms with free, often diagonal brushwork. The side of the house in bright sunlight was executed less freely with transparent darks and opaque lights. Lines of blue were added after the opaque white to define forms.

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