Download Edward Hopper Encyclopedia by Lenora Mamunes PDF

By Lenora Mamunes

Edward Hopper used to be essentially the most famous American realist painters of the 20 th century. This finished encyclopedia is a cross-referenced consultant to Hopper's existence and paintings. greater than two hundred entries specialise in his oeuvre, together with his such a lot noteworthy oil work, watercolors and etchings. the rest entries spotlight members important to Hopper's existence and occupation, areas the place he created paintings, in addition to correct paintings terminology. The 350 entries supply a brief and straightforward resource for info for lecturers, scholars, museum and gallery devotees, in addition to somebody drawn to studying approximately Hopper.

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He and a group of young artists exhibited independently, calling themselves realists, drawing inspiration from their surroundings and experiences. Somewhat later, his colleagues took on the term impressionist, but Degas rejected the term. Impressionism demanded that an artist be spontaneous; Degas insisted that no art was less spontaneous than his, and that, instead, his art was the result of reflection and of the study of the great masters.

And had been suggested by things I had seen on Broadway in walking there at night. The attempt to give a concrete expression to a very amorphous impression is the insurmountable difficulty in painting. ” Source: Avis Berman, Edward Hopper’s New York. Corn Hill, Truro 1930. Oil on canvas, 29 ¥ 43 in. 2 cm), Marion Koogler McNay Art Museum, San Antonio, Texas — Painted during Hopper’s first summer in South Truro, Cape Cod, Corn Hill, Truro shows the rolling dunes of Corn Hill Beach, located just above Cape Cod Bay on the outer arm of the cape between Provincetown and Wellfleet.

1 cm), Collection of Steve Martin — The setting for this painting is Cape Elizabeth, Maine. The lighthouse keeper’s home was built in 1878. When Hopper visited in 1927, the Coast Guard station’s keeper was Joseph H. Upton. In Captain Upton’s House, Hopper shows the keeper’s house and the lighthouse looming behind it; he uses whites, taupes and grays, and conveyed the idea of the light beacon by painting the panes of glass in the lantern in shades of gold. The complex is seen from below, bathed in sunlight.

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