✿
Edward Hopper
에드워드 호퍼
(Americanㅣ1882~1967ㅣaged 84)
Edward Hopper is widely acknoledged
as the most important realist painter
of twentieth-century America.
While he was most popularly known for
his oil paintings, he was equally proficient
as a watercolorist and printmaker in etching.
His work demonstrates that realism is
not merely a literal or photographic copying
of what we see, but an interpretive rendering.
(Loan from the ▷Whitney Museum)
President Barack Obama looks at
two works by Edward Hopper added to
the walls of the Oval Office, Feb. 7, 2014.
-Cobb's Barns, South Truro (TOP♥),
-Burly Cobb's House, South Truro (Bottom)
both circa 1930–33.
Q :What were the reasons for selecting
these two paintings in particular?
Why might these works be well suited to the
highly symbolic space of the Oval Office?
A: I was thinking primarily of the perspective
of the viewer inside the Oval Office, but
I did do some Internet searches of the Oval Office
and looked at the art hanging on the
walls through various administrations.
I was aware that these two Hopper images
had a very graphic quality that would read well
from a longer distance and in photography.
-Dana Miller(curator)
A: When I saw the official White House
photograph taken by Chuck Kennedy of
The President standing in front of the
two paintings, I thought it looked like a
Hopper composition. Hopper's urban scenes
are often of a solitary figure caught in
quiet contemplation(조용히 응시,고요한 사색),
and that's what the photograph captured.
The light in the office and the sense of
stillness(정적) are very Hopper-esque(풍/양식);
the sun even seems to be coming into the office
at the precise angle of the sun in the painting.
And the back of The President recalls the back
of the figure in Hopper's most famous painting,
▷Nighthawks. I'm guessing Chuck Kennedy knew
exactly what he was doing. And of course,
it was deeply gratifying to see an image of
President Obama
so intently focused on the paintings.
-Dana Miller(curator)
as the most important realist painter
of twentieth-century America.
While he was most popularly known for
his oil paintings, he was equally proficient
as a watercolorist and printmaker in etching.
His work demonstrates that realism is
not merely a literal or photographic copying
of what we see, but an interpretive rendering.
Both in his urban and rural scenes, his
spare and finely calculated renderings reflected
his personal vision of modern American life.
(Loan from the ▷Whitney Museum)
President Barack Obama looks at
two works by Edward Hopper added to
the walls of the Oval Office, Feb. 7, 2014.
-Cobb's Barns, South Truro (TOP♥),
-Burly Cobb's House, South Truro (Bottom)
both circa 1930–33.
Q :What were the reasons for selecting
these two paintings in particular?
Why might these works be well suited to the
highly symbolic space of the Oval Office?
A: I was thinking primarily of the perspective
of the viewer inside the Oval Office, but
I did do some Internet searches of the Oval Office
and looked at the art hanging on the
walls through various administrations.
I was aware that these two Hopper images
had a very graphic quality that would read well
from a longer distance and in photography.
-Dana Miller(curator)
A: When I saw the official White House
photograph taken by Chuck Kennedy of
The President standing in front of the
two paintings, I thought it looked like a
Hopper composition. Hopper's urban scenes
are often of a solitary figure caught in
quiet contemplation(조용히 응시,고요한 사색),
and that's what the photograph captured.
The light in the office and the sense of
stillness(정적) are very Hopper-esque(풍/양식);
the sun even seems to be coming into the office
at the precise angle of the sun in the painting.
And the back of The President recalls the back
of the figure in Hopper's most famous painting,
▷Nighthawks. I'm guessing Chuck Kennedy knew
exactly what he was doing. And of course,
it was deeply gratifying to see an image of
President Obama
so intently focused on the paintings.
-Dana Miller(curator)
● Quotes
"Great art is the outward expression of an
inner life in the artist, and this inner life will
result in his personal vision of the world. "
"The only real influence I've ever had was myself. "
"More of me comes out when I improvise. "
"In general it can be said that
a nation's art is greatest when it most
reflects the character of its people. ”
“The question of the value of nationality
in art is perhaps unsolvable. ”
“I use a retouching varnish
in art is perhaps unsolvable. ”
“I use a retouching varnish
which is made in France, Libert, and
that's all the varnish I use. ”
that's all the varnish I use. ”
“Well, I've always been interested in
approaching a big city in a train, and
I can't exactly describe the sensations,
but they're entirely human and perhaps
have nothing to do with aesthetics. ”
“Maybe I am not very human -
what I wanted to do was to
paint sunlight on the side of a house. ”
what I wanted to do was to
paint sunlight on the side of a house. ”
“There is a sort of elation about
sunlight on the upper part of a house. ”
<Chop Suey 1929 >
*Notable work / Social Realism
'Window' painting Series
oil on canvas, 81 x 96.5 cm
Collection of Barney A. Ebsworth
The foreground of the work portrays
two women in conversation at a restaurant.
As with many of Hopper's works,
the painting features a close attention
to the effects of light on his subjects.
*Conversations with Collectors:
▷Barney A. Ebsworth (audio)
© 2016 National Gallery of Art
Ebsworth began collecting in the mid-1960s
while living in Europe for military service
and traveling for his cruise-ship business.
Although his early acquisitions were
17th-century Dutch and Flemish and
18th-century Japanese art, eventually
the exclusive focus of the collection
became American modernist works dating
from the Armory Show of 1913 onward.
'Window' painting Series
oil on canvas, 81 x 96.5 cm
Collection of Barney A. Ebsworth
The foreground of the work portrays
two women in conversation at a restaurant.
As with many of Hopper's works,
the painting features a close attention
to the effects of light on his subjects.
*Conversations with Collectors:
▷Barney A. Ebsworth (audio)
© 2016 National Gallery of Art
Ebsworth began collecting in the mid-1960s
while living in Europe for military service
and traveling for his cruise-ship business.
Although his early acquisitions were
17th-century Dutch and Flemish and
18th-century Japanese art, eventually
the exclusive focus of the collection
became American modernist works dating
from the Armory Show of 1913 onward.
< Le Bistro or The Wine Shop, 1909>
Oil on canvas, 88.3 × 76.2 × 6.7cm.
▷Whitney Museum of American Art,NY
Josephine N. Hopper Bequest 70.1187.
© Heirs of Josephine N. Hopper(부인:)
<Houses Of Squam Light, Gloucester 1923>
Oil on canvas, 88.3 × 76.2 × 6.7cm.
▷Whitney Museum of American Art,NY
Josephine N. Hopper Bequest 70.1187.
© Heirs of Josephine N. Hopper(부인:)
watercolor on paper, 28.6 x 44.29 cm
Museum of Fine Arts, Boston
Museum of Fine Arts, Boston
'Couple' painting Series
oil on canvas, 101.6 x 76.2 cm
National Gallery of Art , Washington
John Hay Whitney Collection
[▷NGA (on view)]
Cape Cod Evening is concerned with
the loss of a viable rural America:
it focuses on those people and places
that have been left in the wake of progress.
<Road In Maine 1914>
oil on canvas, 61.6 × 74.3 cm
Whitney Museum of American Art, NY
(▷Josephine N. Hopper Bequest)
oil on canvas, 101.6 x 76.2 cm
National Gallery of Art , Washington
John Hay Whitney Collection
[▷NGA (on view)]
Cape Cod Evening is concerned with
the loss of a viable rural America:
it focuses on those people and places
that have been left in the wake of progress.
<The Bootleggers 1925>
oil on canvas, 61.6 × 74.3 cm
Whitney Museum of American Art, NY
(▷Josephine N. Hopper Bequest)
Oil on canvas, c. 1922
▷Muskegon Museum of Art
Hackley Picture Fund purchase,1936.12
Hopper was included in the 1913 Armory Show
but after the exhibit he abandoned painting
for the next decade, making a living
as a commercial artist and refining
his art through etchings and watercolors.
In the early 1920s a watercolor,
▷The Mansard Roof (1923), was exhibited
and purchased by the Brooklyn Art Museum.
It laid out what would become
the hallmarks of Hopper’s work:
a precise sense of location; clear, harsh light;
strong geometric elements; and
a sense of loneliness and melancholy.
His subtle observations of American life
made Hopper a pivotal figure
in the development of American art.
New York Restaurant comes out of Hopper’s
early career. While the scene is crowded,
the woman in the red hat seems removed and
distant, uninvolved with the man who sits with her.
" In a specific and concrete sense, the idea was
to attempt to make visual the crowded glamour
of a New York restaurant during the noon hour.
I am hoping that ideas less easy
to define have, perhaps, crept in also."
-Edward Hopper
<The City 1927>
oil on canvas, 69.85 x 93.98 cm
Private Collection
●Related Auction Results
zoom
<HOUSE ON THE SHORE 1924>
inscribed Gloucester (lower right)
watercolor on paper/35.6 by 50.8 cm
▷Sotheby`s NY 2014
Est. 300,000-500,000 USD
Lot Sold. 1,085,000 USD
Edward Hopper and his wife Jo Nivison
spent the summer in Gloucester
periodically between 1912 and 1928.
During their second visit, Jo persuaded
Hopper to work in watercolor,
a medium he had not used regularly
since his days as an illustrator.
Lloyd Goodrich writes, "It was in Gloucester
in 1923 that Hopper embarked on the watercolors
of houses and village streets that were to become
his first generally known type of subject—
for a while, one might say, his trademark.
"Like every realist, Hopper loved character,
and these varied structures were as exactly
characterized as a portrait painter's sitters.
And above all, he loved the play of
sunlight and shadow on their forms,
the way a white-painted clapboard wall
looked under the baking summer sun.
Never before had the American small town
been subject to such candid(적나라하게)
scrutiny(주시,관찰,검토하다).
When these watercolors were first shown,
the general reaction, from the critics and
public, was that they were satire(풍자,조롱).
We were not yet used to seeing such
commonplace, and to some of us ugly,
material used in art. But actually,
there was no overt(명시적인) satire.
Hopper was painting an
honest portrait of an American town,
with all its native character,
its familiar ugliness and beauties.
Hopper achieved his first success
in the watercolor medium when eleven
of his Gloucester works were exhibited
in a one-man show at the Frank K.M. Rehn Gallery
in New York in 1924. All of them sold,including
<House on the Shore>, and the landmark
exhibition launched Hopper's career.
zoom
< October on Cape Cod 1946 >
oil on canvas/ 66.7 x 107.3 cm.
▷Christie`s New York 2012
Est. 8,000,000-12,000,000 USD
Price Realised 9,602,500 USD
Hopper painted October on Cape Cod
in his South Truro studio in 1946 based on
several pencil studies completed in his car,
the working method he increasingly
preferred from the late 1930s on.
This maintained the detached voyeurism
(관음증) of his earlier works while also
introducing the element of memory
as he was now working from sketches
rather than from the scene itself.
Thus Hopper's aim was not a literal
transcription of the place,
but one that was altered so as to
replicate his emotional response to it.
While October on Cape Cod depicts a
seemingly mundane(일상적인) scene,
these sketches reveal that Hopper
did not merely transcribe reality,
rather he edited the site so as to convey
his impression(인상) of the place and
the sentiments(정서) that it evoked in him.
<HOUSE ON THE SHORE 1924>
inscribed Gloucester (lower right)
watercolor on paper/35.6 by 50.8 cm
▷Sotheby`s NY 2014
Est. 300,000-500,000 USD
Lot Sold. 1,085,000 USD
Edward Hopper and his wife Jo Nivison
spent the summer in Gloucester
periodically between 1912 and 1928.
During their second visit, Jo persuaded
Hopper to work in watercolor,
a medium he had not used regularly
since his days as an illustrator.
Lloyd Goodrich writes, "It was in Gloucester
in 1923 that Hopper embarked on the watercolors
of houses and village streets that were to become
his first generally known type of subject—
for a while, one might say, his trademark.
"Like every realist, Hopper loved character,
and these varied structures were as exactly
characterized as a portrait painter's sitters.
And above all, he loved the play of
sunlight and shadow on their forms,
the way a white-painted clapboard wall
looked under the baking summer sun.
Never before had the American small town
been subject to such candid(적나라하게)
scrutiny(주시,관찰,검토하다).
When these watercolors were first shown,
the general reaction, from the critics and
public, was that they were satire(풍자,조롱).
We were not yet used to seeing such
commonplace, and to some of us ugly,
material used in art. But actually,
there was no overt(명시적인) satire.
Hopper was painting an
honest portrait of an American town,
with all its native character,
its familiar ugliness and beauties.
Hopper achieved his first success
in the watercolor medium when eleven
of his Gloucester works were exhibited
in a one-man show at the Frank K.M. Rehn Gallery
in New York in 1924. All of them sold,including
<House on the Shore>, and the landmark
exhibition launched Hopper's career.
zoom
< October on Cape Cod 1946 >
oil on canvas/ 66.7 x 107.3 cm.
▷Christie`s New York 2012
Est. 8,000,000-12,000,000 USD
Price Realised 9,602,500 USD
Hopper painted October on Cape Cod
in his South Truro studio in 1946 based on
several pencil studies completed in his car,
the working method he increasingly
preferred from the late 1930s on.
This maintained the detached voyeurism
(관음증) of his earlier works while also
introducing the element of memory
as he was now working from sketches
rather than from the scene itself.
Thus Hopper's aim was not a literal
transcription of the place,
but one that was altered so as to
replicate his emotional response to it.
While October on Cape Cod depicts a
seemingly mundane(일상적인) scene,
these sketches reveal that Hopper
did not merely transcribe reality,
rather he edited the site so as to convey
his impression(인상) of the place and
the sentiments(정서) that it evoked in him.
♥
