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Edward Hopper : portraits of America

Author: Wieland Schmied; Edward Hopper
Publisher: Munich ; New York : Prestel, ©1995.
Series: Pegasus library.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
Edward Hopper was one of the finest American Scene painters in the Realist tradition. His passion was to portray "typical America"; his city- and landscapes are vivid reflections of the then contemporary American life. Several of his paintings, such as House by the Railroad (1925), Early Sunday Morning (1930), and Nighthawks (1942), have become icons of modern American art. They depict the loneliness, anonymity, and
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Genre/Form: Art
Criticism, interpretation, etc
In art
Additional Physical Format: Online version:
Schmied, Wieland, 1929-
Edward Hopper.
Munich ; New York : Prestel, ©1995
(OCoLC)604634908
Named Person: Edward Hopper; Edward Hopper; Edward Hopper; Edward Hopper
Document Type: Book
All Authors / Contributors: Wieland Schmied; Edward Hopper
ISBN: 3791314858 9783791314853 3791314807 9783791314808
OCLC Number: 33420619
Description: 126 pages : illustrations (some color) ; 25 cm.
Contents: Early Sunday morning --
Manhattan bridge loop --
Gas --
New York movie --
Office at night --
Nighthawks --
Hotel lobby --
Seven a.m. --
Sunlight in a cafeteria --
Second story sunlight --
New York office.
Series Title: Pegasus library.
Responsibility: Wieland Schmied ; translated from the German by John William Gabriel.

Abstract:

Edward Hopper was one of the finest American Scene painters in the Realist tradition. His passion was to portray "typical America"; his city- and landscapes are vivid reflections of the then contemporary American life. Several of his paintings, such as House by the Railroad (1925), Early Sunday Morning (1930), and Nighthawks (1942), have become icons of modern American art. They depict the loneliness, anonymity, and lack of variety in the daily life of ordinary people.

Edward Hopper: Portraits of America examines the apparent dichotomy within Hopper's oeuvre. On the one hand, his compositions depict deserted small towns or solitary figures in empty offices, desolate houses, or hotel rooms. On the other hand, Hopper painted the landscape of New England, where he spent almost every summer with his wife Jo, as bright and tranquil. He seemed to analyze the psychological restrictions and isolation of everyday life as well as the joy and freedom of vacation.

This volume superbly illustrates this dichotomy with full-color reproductions of many of Hopper's most famous compositions. It shows how, by linking fiction and reality, concealment and revelation, Hopper's images evoke an enigmatic uncertainty, which is both mystifying and fascinating.

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