Published by Karma Books, New York. Text by Robert Hobbs.
In the late 19th and early 20th centuries, the coastal city of Gloucester, Massachusetts, long a major hub for America’s fishing industry, became a celebrated summer resort for prominent American painters and writers including Winslow Homer, Childe Hassam, Cecilia Beaux and T.S. Eliot. As a young man visiting Gloucester, Edward Hopper (1882–1967) turned away from the allure of its ragged coast line and instead created atmospheric watercolors of homes, lighthouses and street scenes in Gloucester. In this volume, art historian Robert Hobbs revisits these works from the 1920s, which he positions alongside the work of New York–based painter Dike Blair (born 1952), who, a century later, has created a new body of work centered on the small fishing city.
The distinctive melancholy found in Edward Hopper’s (1882–1967) paintings often leads viewers to wonder about the more intimate details of the artist’s life. Where exactly did this master of loneliness live and work? What influenced him most while he was working on his great paintings of America?
In this wonderful, simply structured A-to-Z book, Ulf Küster pursues these themes, telling us a great deal about the painter and his interests without losing sight of the work itself. Küster takes us through the ABCs of Hopper’s life and work, from “American landscape,” “Buick,” “Cape Cod,” “Dos Passos,” “El[evated] Train,” “Frost,” “Goethe,” “House,” “Illustration” and “Josie” to “Shadow and Sunlight”—and of course the keyword, “Time.”
On the way he opens up many new doors and insights, enriching the views of Hopper’s paintings and the possible reinterpretation of them. Touching on lesser-known facets of the artist’s life such as his passion for literature, as well as his early pursuits in illustration as a career, this entertaining and informative book provides a closer look into the life of this master in American realism, who continues to be a source of inspiration for countless painters, photographers and filmmakers today.
Published by Hatje Cantz. Edited with text by Ulf Küster. Text by Erika Doss, David Lubin, Katharina Rüppell.
Edward Hopper’s world-famous, instantly recognizable paintings articulate an idiosyncratic view of modern life, unfolding in a world of lonely lighthouses, gas stations, movie theaters, bars and hotel rooms. With his impressive subjects, independent pictorial vocabulary and virtuoso play of colors, Hopper’s work continues to this day to color our memory and imaginary of the United States in the first half of the 20th century.
Hopper began his career as an illustrator and became famous around the globe for his oil paintings. These paintings testify to the artist’s great interest in the effects of color and his mastery in depicting light and shadow, at work whether the artist was painting alienated figures in dreamlike interiors or desolate American landscapes.
Edward Hopper: A Fresh Look on Landscape is published to accompany a major exhibition at the Fondation Beyeler of Hopper’s iconic images of the vast American landscape. The catalog gathers together paintings, watercolors and drawings made by the artist between the 1910s and the 1960s, and supplements them with essays by Erika Doss, David Lubin and Katharina Rüppell, focused on the subject of depicting the landscape.
Edward Hopper (1882–1967) was the master of American Realism. His paintings captured the mood and atmosphere of his era. His style of painting and subject matter became the stylistic foundation for a distinct type of American modernism. A source of inspiration for countless painters, photographers and filmmakers, Hopper’s body of work continues to be influential to this day.
Published by D.A.P./Réunion des Musées Nationaux - Grand Palais. Edited and with text by Tomàs Llorens, Didier Ottinger.
Edward Hopper is as quintessentially American as Jackson Pollock or Andy Warhol. Like them, his imagery has reached far beyond the realm of art to impact on our culture in the broadest terms, so that we see early twentieth-century America through his work, as much as within it. The painter Charles Burchfield attributed Hopper’s success to his “bold individualism,” declaring that “in him we have regained that sturdy American independence which Thomas Eakins gave us.” Hopper’s art was profoundly of its time, both in its expression of the subtle melancholies of modern life and in its deeply cinematic qualities--perhaps Hopper’s greatest gift was his treatment of light--to which directors from Alfred Hitchcock to Wim Wenders have paid homage. This volume presents a definitive Hopper monograph. Published for a massive retrospective at the Museo Thyssen-Bornemisza in Madrid, and the Grand Palais in Paris, it approaches Hopper’s relatively small oeuvre in two sections. The first covers the artist’s formative years from approximately 1900 to 1924, examining a selection of sketches, paintings, drawings, illustrations, prints and watercolors, which are considered alongside works by painters that influenced Hopper, such as Winslow Homer, Robert Henri, John Sloan, Edgar Degas and Walter Sickert. The second section considers the years from 1925 onwards, addressing his mature output through chronological but thematic groupings. Comprehensive in its scope, with a wealth of color reproductions, Hopper is the last word on the artist.
Published by Skira. By Carter Foster, Carol Troyen, Sasha Nicholas, Luigi Sampietro, Demetrio Paparoni, Goffedro Fofi.
An extensive study on Hopper, which accompanies a major travelling exhibition and illuminates the life and work of one of America’s most celebrated artists. Illustrated with over 150 oils, watercolors, etchings and drawings with comments on their formal and technical characteristics, this exhibition’s catalog offers an updated critical interpretation of Edward Hopper’s work and an alternative view to the extensive literature that already exists on this artist. Among the artworks included are Cape Cod Sunset, Second Story Sunlight, and some interesting self-portraits from the Whitney Museum of American Art; the famous Morning Sun from the Columbus Museum of Art, Ohio, and a number of lesser-known watercolors and oils from Hopper’s journeys to Paris. Also included are essays by several noted scholars, and an extensive chronology and bibliography. Perfect for casual perusing or serious study, this lavish exploration of Edward Hopper’s work is certain to find a wide audience.
Carter E. Foster, former Curator and co-chair of the Department of Prints and Drawings at the Los Angeles County Museum of Art, is Curator of Drawings at the Whitney Museum of America Art. Carol Troyen has worked with the Museum of Fine Arts, Boston, for 27 years and has organized many exhibitions, including a famous one on Edward Hopper in 2007. She has lectured at museums across the country, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Fine Arts Museums of San Francisco. Sasha Nicholas is a Whitney Museum curatorial assistant. Luigi Sampietro is Professor of American Literature at the Università degli Studi di Milano. Goffredo Fofi is an Italian writer and journalist. Demetrio Paparoni is a curator and author of fine art books.
Published by Moderne Kunst Nürnberg. Edited by Norbert Schmitz, Gabriel Ramin Schor. Text by Carter Foster, Gerald Matt.
American painter Edward Hopper once said, "Maybe I am not very human--what I wanted to do was to paint sunlight on the side of a house." Indeed, Hopper's canvases delineate a new physics of Modern public space, in which the zones between people are not charged with responsiveness (affection, animosity, attraction) but with absolute indifference. Whether alone or grouped, Hopper's solitary figures bespeak Modern metropolitan conditions with a clarity that is deepened by his very specific ability to capture architecture, interior space and, of course, light. The legacy of this vision, coupled with Hopper's unique vocabulary, can be seen in the work of numerous artists today, who are also featured here. Among them are Ed Ruscha, Jim Jarmusch, Todd Haynes, Richard Prince, Rachel Whiteread, Jeff Wall, Markus Schinwald, Philip Lorca diCorcia, David Claerbout, Mark Lewis and Tim Eitel.
Published by MFA Publications, Museum of Fine Arts, Boston. Text by Carol Troyen, Judith Barter, Elliot Davis.
One of the most enduringly popular painters of the twentieth century, Edward Hopper produced many works now considered icons of Modern art. Canvases such as Drugstore, New York Movie, and the universally recognized (and often parodied) Nighthawks not only reshaped what painting looked like in America, but created a visual language for middle-class life and its discontents. This extensive new assessment of Hopper, which accompanies a major traveling exhibition, examines the dynamics of the artist's creative process and discusses his work within the cultural currents of his day--examining the influence not only of other painters, but also of such media as literature and film. And while most studies have tended to see Hopper as the great painter of alienation, this one takes a much broader, more nuanced, and ultimately more representative view. Spanning the entirety of Hopper's career, but with particular emphasis on his heyday in the 30s and 40s, Edward Hopper highlights the artist's greatest achievements while discussing such topics as his absorption of European influences, critical reactions to his work, the relation of Realism to Modernism, the artist's fascination with architecture, his depiction of women, and the struggle in his last years to produce original works. Illustrated with over 150 oils, watercolors and prints, and including essays by several noted scholars in the field and an extensive chronology and bibliography, this is the most comprehensive volume on Hopper produced in the last decade.