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Edward Hopper (2001)

di Rolf Günter Renner, Edward Hopper, Inge Kappert (A cura di)

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Painter of the loneliness of big-city people   Edward Hopper (1882-1967) is considered the first important American painter in twentieth-century art. After decades of patient work, Hopper enjoyed a success and popularity that since the 1950s has continually grown. In canvas after canvas he painted the loneliness of big-city people. Many of Hopper's pictures represent views of streets and roads, rooftops, and abandoned houses, depicted in a brilliant light that strangely belies the melancholy mood of the scenes. Hopper's paintings are marked by striking juxtapositions of color, and by the clear contours with which the figures are demarcated from their surroundings. His extremely precise focus on the theme of modern men and women in the natural and man-made environment sometimes lends his pictures a mood of eerie disquiet. On the other hand, Hopper's renderings of rocky landscapes in warm brown hues, or his depictions of the seacoast, exude an unusual tranquillity that reveals another, more optimistic side of his character.   About the Series: Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions… (altro)
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Edward Hopper’s art is representational, not abstract, but it is very modern. As I write this, though, whatever I think of modern art, I needed Hopper.

What struck me was “Circle Theater” (1936), which wasn’t reproduced in the text but mentioned in it, so I Googled it and found the image. I was having a bad day and so I naturally forgot to use ecosia, meaning that I probably increased the amount of plastic floating in the South Pacific, which somehow seems relevant.

Anyway, the “Circle Theater” painting is not so much the theater as the city. “You live in a big city; do you get to go to the theater?” “No I just listen to rap when the cops aren’t around.” I’m not really a huge rap person but I think we’ve all been there, whether we’ll admit it or not—just being tired of not being cared about. The Hallmark card sort of art—Christmas village, whatever you want—always seems to be pleading that we have nothing to complain about. Read Jane Austen, go to the art gallery, listen to Nat King Cole sing about the Christmas Village In Italy. In the Hopper picture the theater’s sign, which is also a kind of ad, if you think about it, is obscured by signs advertising soda, ice cream and candy, “drugs”, even—which is what a lot of art is, including Jane Austen’s Marvelous Adventure in the Christmas Village in Italy (1936).

But I don’t like the way that the prose is written, as I think it’s harmfully palatial, and I don’t think Hopper’s theme is so much “Civilization” as the commercial. What’s “Civilization”? It’s what we call it.

.... Anyway, it is very modern so I related. The Circle Theater picture looks like the Internet, like advertising.... On the other hand his models are very un-advert-y, which is different, and the writer’s palatial language is a little bit more appropriate in regards to sex, when the other way might be a sewer. In general though I think we stress that opposition too much. I remember as a child I was told to (be tough and) look words up even if I didn’t know how they were spelled (this was before iPhones, in paper-only dictionaries), and it’s like.... if you meet me in the middle, is it the end of the world? I’m being good and reading a book, now tell me what the words mean. Or, I’ve paid for a guide, now, guide.

.... Anyway, it’s still an okay book.

.... I think “Rooms By The Sea” is my favorite picture in the book.... Real, but not quite.

.... Also, despite the fact that Hopper did like painting women I think that one of the main characteristics of his work (involving people) is how often passion is absent from workaday life. (As well as a sort of uncertainty which I guess goes with that.)

.... As for the critic, I liked the last chapter, “Transformations of the Real”, and I agreed with most of the broad observations he makes, which was better than some of the blow by blow commentary where he explains who looks “wooden” and who doesn’t. Both narrow and broad are necessary, but both are not done equally well.
  goosecap | Feb 27, 2021 |
Edward Hopper, pintor de la soledad de la gente de las grandes ciudades (1882-1967) es considerado el primer pintor americano importante en el arte del siglo XX. Después de décadas de trabajo paciente, Hopper disfrutó de un éxito y la popularidad creciente desde la década de los 50. Muchos de los cuadros de Hopper representan vistas de calles y carreteras, tejados y casas abandonadas, representado en una luz brillante que contrasta con extraña la atmósfera melancólica de las escenas. Las pinturas de Hopper están marcadas por golpear yuxtaposiciones de color, y por los contornos claros con los que las figuras se distinguen de su entorno. Cada libro de la serie menor arte de TASCHEN presenta: un resumen cronológico detallado de la vida del artista y el trabajo, cubriendo su importancia histórica y cultural del artista Aproximadamente 100 ilustraciones en color con comentarios explicativos una biografía concisa. ( )
  HavanaIRC | Aug 3, 2016 |
Hopper is vooral bekend geworden door zijn schilderijen van interieurs van Amerikaanse gebouwen met personen. Het schilderij "Nachtbrakers" uit 1942 dat op de omslag staat is hier een mooi voorbeeld van. Persoonlijk doen zijn schilderijen me niet zo veel, maar mijn zus is hier een groot fan van. ( )
  erikscheffers | Jan 23, 2013 |
25.00
  mbugler | Mar 6, 2011 |
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» Aggiungi altri autori (3 potenziali)

Nome dell'autoreRuoloTipo di autoreOpera?Stato
Rolf Günter Rennerautore primariotutte le edizionicalcolato
Hopper, Edwardautore principaletutte le edizioniconfermato
Kappert, IngeA cura diautore principaletutte le edizioniconfermato

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Painter of the loneliness of big-city people   Edward Hopper (1882-1967) is considered the first important American painter in twentieth-century art. After decades of patient work, Hopper enjoyed a success and popularity that since the 1950s has continually grown. In canvas after canvas he painted the loneliness of big-city people. Many of Hopper's pictures represent views of streets and roads, rooftops, and abandoned houses, depicted in a brilliant light that strangely belies the melancholy mood of the scenes. Hopper's paintings are marked by striking juxtapositions of color, and by the clear contours with which the figures are demarcated from their surroundings. His extremely precise focus on the theme of modern men and women in the natural and man-made environment sometimes lends his pictures a mood of eerie disquiet. On the other hand, Hopper's renderings of rocky landscapes in warm brown hues, or his depictions of the seacoast, exude an unusual tranquillity that reveals another, more optimistic side of his character.   About the Series: Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

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