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Gerry Souter - Edward Hopper

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Gerry Souter Edward Hopper
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Edward Hopper: summary, description and annotation

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In his works, Hopper poetically expressed the solitude of man confronted to the American way of life as it developed in the 1920s. Inspired by the movies and particularly by the various camera angles and attitudes of characters, his paintings expose the alienation of mass culture. Created using cold colours and inhabited by anonymous characters, Hoppers paintings also symbolically reflect the Great Depression. Through a series of different reproductions (etchings, watercolours, and oil-on-canvas paintings), as well as thematic and artistic analysis, the author sheds new light on the enigmatic and tortured world of this outstanding figure.

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Author:

Gerry Souter

Layout:

Baseline Co. Ltd

61A-63A Vo Van Tan Street

4 th Floor

District 3, Ho Chi Minh City

Vietnam

Library of Congress Cataloging-in-Publication Data

Souter, Gerry.

Edward Hopper : light and dark / Gerry Souter.

pages cm

Summary: In his works, Hopper poetically expressed the solitude of man confronted to the American way of life as it developed in the 1920s. Inspired by the movies and particularly by the various camera angles and attitudes of characters, his paintings expose the alienation of mass culture. Done in cold colours and inhabited by anonymous characters, Hoppers paintings also symbolically reflect the Great Depression. Through a series of different reproductions (etchings, watercolours, and oil-on-canvas paintings), as well as thematic and artistic analysis, the author sheds new light on the enigmatic and tortured world of this outstanding figure-- Provided by publisher.

Includes bibliographical references and index.

1. Hopper, Edward, 1882-1967--Criticism and interpretation. I. Title.

N6537.H6S65 2012

759.13--dc23

2011051414

Confidential Concepts, worldwide, USA

Parkstone Press International, New York, USA

Image-Bar www.image-bar.com

Heirs of Josephine N. Hopper, licensed by the Whitney Museum of American Art, pp. 6, 9, 10, 12, 14, 17, 18, 20-21, 23, 24, 26, 28-29, 31, 32, 35, 36, 39, 40-41, 46, 48-49, 54-55, 57, 61, 62, 94-95, 97, 98-99, 114-115, 123, 128-129, 132-133, 138-139, 160-161

All rights reserved

No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers, artists, heirs or estates. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.

ISBN: 978-1-78310-026-2

Gerry Souter

EDWARD HOPPER

Light and Dark

Contents Self-Portrait 1903-1906 Oil on canvas 658 x 558 cm - photo 1

Contents Self-Portrait 1903-1906 Oil on canvas 658 x 558 cm - photo 2

Contents

Self-Portrait 1903-1906 Oil on canvas 658 x 558 cm Whitney Museum of - photo 3

Self-Portrait, 1903-1906.

Oil on canvas, 65.8 x 55.8 cm .

Whitney Museum of American Art,

New York, Josephine N. Hopper Bequest.

Introduction

The mans the work. Something doesnt come out of nothing.

Edward Hopper

If you dont know the kind of person I am

And I dont know the kind of person you are

A patternthat others made may prevail inthe world

And followingthe wrong god home we may missour star.

Excerpt: A Ritual to Read to Each Other William Edgar Stafford, 1914-1993

Edward Hoppers realist creations in oil, watercolour, and etchings earned him a degree of celebrity throughout Americas interwar years, from the 1920s to the 1940s. During the last twenty years of his life, the honours came, the medals, the retrospective exhibitions, and the invitations to countless museum and gallery openings, many of which he turned down. He was a recluse, a captive of his overachieving upbringing, a prisoner of humiliating memories of early rejection, the tenant of his failing body, and the sole occupant of a darkly silent philosophy that resonated with virtually anyone who confronted his work. Hoppers creative efforts discovered elements of the American scene that appear to be silent remnants left behind, or events about to happen. His work is his autobiography.

Edward Hopper and his wife, Josephine in later years almost nobody thought of him without her and so they are linked in art history were married for forty-three years. He stood six foot five inches and she was no taller than five foot one, with coppery red hair. Virtually everything in their life together orbited around his art. Josephine Nivison Hopper also had modest talent as an artist. Through her contacts, she helped him exhibit his first watercolours. Nevertheless, in Hoppers solar system there was room for only one artist himself, the sun at its centre. Yet she insinuated herself into his self-absorbed world. Once they were married, with few exceptions, the only women appearing in Hoppers small repertory company were painted from Jos nude or costumed form.

Besides modelling, in 1933 she began a relentlessly personal diary of their life together adding to a detailed record book of his work: its size, brand of paint used, canvas or paper, oil or watercolour, what gallery accepted it, and its selling price less 33 percent gallery commission. With her own art career in tatters beneath the weight of his creative shadow and callous indifference, she bonded with him as clerk, diarist, house lackey, social prod, financial juggler, and creative scold.

Drip, drip, drip, her constant flow of chatty encouragement wore down the resolve of his blockages, his inability to work, his cavernous depressions. She also knew how to push his buttons and twist the guilt knife. He saw no reason to stop reminding her of her second-class status in the household and as an artist. They splashed each others psychological vitals with acidic scorn and calculated goading and then battered each other, drawing blood physically and emotionally. But their mutual dependence persisted.

Edward and Jo also had good times as they explored the Eastern Seaboard, starting in the 1920s, stopping to sketch and splash on watercolour. They made friends of the people whose homes and boats and special places Edward drew and painted. They tramped together along the streets of New York where they had studied art and were part of the Greenwich Village artist scene.

From the 1920s to the 1960s they both embraced the realist American art movement as other painters and sculptors came and went. Hopper stood like a rock amid the chaos that welcomed, then rejected the Impressionists, dismissed, then lionised the Expressionists, Surrealists, and other ists that bubbled to the surface. His work needed no manifesto, belonged to no school. A Hopper needed no signature and its value never dropped. Like bankable Alexander Calder and Pablo Picasso, once he hit his own creative personal stride, his paintings and etchings always found buyers. Hoppers two-dimensional world turned in on itself from unpopulated introspective compositions of hills, boats, and houses to include a pensive collection of seeming allegories featuring a silent cast of drained characters, each captured with something yet undone, or done and now buried beneath regret, or just waiting to see what might come and change their lives.

From his birth in Nyack, New York in 1882, to his death at the age of eighty-five sitting in his chair in the New York City apartment and studio he occupied for fifty years, Hopper spent his eight decades in pursuit of light and shadow. He mastered executing their delineation of our lives and environment. Thanks to Josephine, his would-be browbeaten Pepys busy beside him, we have a small and often vitriol-spattered window into his reclusive world. The pursuit is a rich journey through painful creative self-discovery and massive self-denial. We travel through the evolution of technical facility in a schizophrenic labyrinth snaking between commercial and artistic success fuelled by the need for recognition, underscored with self-loathing, and ending in his lifetime among the immortals of fine art.

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