Dissertations / Theses on the topic 'Edward Hopper'

La thèse aborde la question du réalisme dans la peinture américaine et tout particulièrement dans celle d'Edward Hopper. Le réalisme américain apparaît comme une manifestation de tendances qui n'ont cessé de se frayer une voie à travers toute l'histoire de l'art américain. Ces tendances répondent à la nécessité d'aborder résolument, afin de tenter de la définir, la nature de l'environnement américain, tant intellectuel que purement matériel, mais aussi de se démarquer de l'Europe, pour mieux saisir la quintessence d'une sensibilité particulière. Les thèmes traités par l'art réaliste des Etats-Unis résultent autant de l'expérience quotidienne que de son ancrage dans un contexte culturel spécifiquement américain. Parmi les grands repères de la peinture réaliste américaine, Edward Hopper occupe une place privilégiée. En effet, cet artiste a dépeint l'Amérique avec une force et une acuité étonnantes, parvenant à faire émerger une image devenue presque mythique de son pays. Notre attention s'est portée sur la question suivante : généralement connu et cité comme l'un des plus grands peintres réalistes américains du XX ème siècle, voire le plus important, pouvons-nous toujours considérer Edward Hopper comme un peintre réaliste ? Evoluant dans un monde en perpétuel quête de l'image et du visuel, où les influences et les interactions sont nombreuses et diffuses, la thèse tente également de montrer et de comprendre pour quelles raisons les compositions d'Edward Hopper, dans lesquelles se révèle la traduction d'une " américanité ", aient pu influencer le travail de quelques artistes contemporains
This doctoral thesis deals with realism in American painting, most particularly in Edward Hopper's painting. American Realism may be seen as a series of trends that have been making their way through American art history. These trends answer be need to approach thouroughly the nature of both intellectual and purely material American environment, in an attempt to define it, and at the same time to stand apart from Europe so as to understand the essence of this its particular sensibility better. The themes treated by realist art in the United States find their source in everyday experience as much as in their being part of a specifically American cultural context. Edward Hopper stands at a privileged place among the most important step stones of American realist painting. He painted America with amazing strengh and precision, managing to give birth to an almost mythical image of his country. Attention was particularly paid to the following question : Edward Hopper is commonly known and spoken of as one of the most, if not the most, important American realist painters of the twentieth century, but is it still relevant today to think of him as a " realist " painter ? As Edward Hopper's work is part of a world in need of, and so continually seeking images and visual effects, a world following the rules of influences and interactions, this doctoral thesis also endeavours to show, and to understand the reasons why Edward Hopper's work, a work that translates into images the very notion of " American identity ", why his work was such an influence on that of some contemporary artists

The goal of this thesis is to study the lighting styles used in three selected Edward Hopper paintings: Morning Sun, Summer Evening, and Night Windows and to create an original, three-dimensional scene lit in a similar style. For a general understanding of the reference paintings, visual analyses were conducted before studying the lighting styles depicted in them. During the process of conducting this lighting study, the lighting styles in the three reference paintings were closely examined and digitally reproduced. The artistic inspiration gained from these three paintings and the lessons learned from the reproduction process are integrated into the creation of the original work which serves as the final project of this thesis. Consequently, the final project displays the lighting style represented in those of the reference paintings, refined by this researcherâ s own style. This study defines an approach to develop the digital lighting that can dramatically enhance the moods in realistic scenes referenced by lighting in the three Hopperâ s paintings.

Este trabajo busca establecer cómo la historia del arte, fundamentalmente a través de la pintura, está presente en el cine en sus diversas manifestaciones. Y cómo en algunas áreas específicas, como la dirección de arte, vestuario, costumbres, etc., se pueden hacer aportes desde la formación académica fundamentales para la construcción histórica, pero también estética de la imagen cinematográfica. Se asume que el cine es tanto objeto de estudio en sí mismo como lugar de crítica narrativa y estética, pero también es arte ligado a procesos de construcción visual, de ubicación histórica, reflejo y proyección de épocas, de fuerte identidad cultural. Para el estudio de la relación entre cine, historia del arte y pintura, se ha elegido seguir el camino el de las representaciones cinematográficas.
Fil: Godoy, María Julia. Universidad Nacional de Cuyo. Facultad de Artes y Diseño.

El presente es un profundo análisis del film “Blue Velvet” de David Lynch y la reinterpretación del concepto “nostalgia norteamericana”, visto en las pinturas de Edward Hopper. La “nostalgia americana” es un término acuñado por la tesista, que describe el sentir de la población estadounidense luego de los momentos de guerra y crisis de su país. Gracias a un análisis de la imagen, se concluye que las pinturas de Edward Hopper retratan ese estado anímico compuesto de nostalgia, soledad, ensimismamiento y melancolía, a través de los aspectos formales y de contenido. De esa manera aparece David Lynch, quien logra reinterpretar el mismo sentir. Luego de descomponer “Blue Velvet” y analizar minuciosamente sus escenas, se argumenta que la reinterpretación se da a través de dos procedimientos: a través de composiciones similares entre las pinturas y los encuadres, y por medio de los nuevos recursos que otorga la comunicación audiovisual, que favorecen e impulsan dichos aspectos de composición. Es importante tener en cuenta que tanto los recursos audiovisuales, como los aspectos formales (en las pinturas) se relacionan al componer encuadres similares y narrar casi un mismo discurso: el de la “nostalgia americana”. Sin embargo, este relato se potencia en “Blue Velvet”, ya que se utilizan recursos como el movimiento de cámara, el movimiento interno y el montaje, los cuales favorecen a evidenciar el concepto. Y allí se descubre la relevancia de esta investigación, ya que, gracias al análisis de los recursos audiovisuales, se evidencia la autoridad del cine como recurso artístico capaz de observar, procesar y analizar sucesos traumáticos que han sido parte la historia. Se otorga un aporte al conocimiento existente sobre cine y pintura, pero además se enriquece el conocimiento audiovisual estableciendo nuevos aportes y conceptos.
Tesis

Med utgångspunkt från fyra olika verk av den amerikanske konstnären Edward Hopper diskuteras och analyseras tecken för vardaglighet, övergivenhet och meningslöshet. Edward Hoppers verk jämförs med verk av fyra olika superrealister. Syftet med detta arbete är att undersöka hur Edward Hoppers konst kom att påverka superreaalisterna. Ett annat syfte är att försöka ge ord åt konstupplevelsen och enligt Howard Gardners metod att gå djupare in på ett område och på så sätt lära sig en metod som gör det möjligt att fördjupa sig i andra ämnen. Frågeställningar som diskuteras i min fördjupning är: Hur kan vardaglighet, övergivenhet och meningslöshet gestaltas i konst? I arbetets gestaltande del ger jag, med två- och tredimentionell konst utgående från självupplevda motiv inspirerat av Hopper och superrealister, uttryck för begreppen vardaglighet, övergivenhet och meningslöshet.
BI/Konst

In this thesis I study alienation in Edward Hopper’s and Jackson Pollack’s paintings. Each of these American painters expressed alienation in his art in a distinctive way. The source of their alienation is different, too, yet they share some personality traits. While alienation in Pollock’s paintings is mainly derived from his psychological characteristics, the source of alienation in Hopper’s paintings is mostly sociological. The alienation in Hopper’s paintings is the manifestation of man’s new status in the world, which is defined by Modernity. He is warning about the situation, in which despite the superficial achievements, man is alone. And, I believe, Pollock is the offspring of that situation.
Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Program of Liberal Studies

Dissertação de mestrado em Comunicação, Arte e Cultura
Esta dissertação analisa a obra do artista americano Edward Hopper. Tendo em vista o texto O Narrador de Walter Benjamin, afirma-se que Hopper foi um pintor-narrador. Buscou-se compreender a obra do pintor a partir do contexto em que ela surgiu, das leituras anteriores propostas por diversos autores a respeito de sua obra, bem como da vida pessoal do artista, suas declarações sobre seu trabalho e processo de criação, além das afinidades com o narrador de Benjamin. Defendeu-se a ideia já posta de que Hopper criou um estilo pictórico único entendido como Realismo Romântico e analisou-se sua obra tendo em mente os temas Natureza e Civilização, Exterior e Interior, Intimidade e Solidão, e Imaginação e Transcendência.
This dissertation analyzes the work of the American artist Edward Hopper. Walter Benjamin’s text The Narrator, states that Hopper was a painter-narrator. It was sought to understand the painter's work from the context in which it arose, from previous readings proposed by various authors about his work and from the personal life of the artist, his statements about his work and creation process, in addition to affinities with Benjamin’s Narrator. The idea that Hopper created a unique pictorial style understood as Romantic Realism has been defended and his work has been analyzed bearing in mind the themes of Nature and Civilization, Exterior and Interior, Intimacy and Solitude, and Imagination and Transcendence.

碩士
國立臺灣師範大學
美術研究所
92
ABSTRACT A Study on Edward Hopper’s “Realistic” Paintings This study attempts to apply Edward Hopper’s “realistic” paintings as the most characteristic art style in early twentieth century. The special art style, expression skills and visual elements presented in his paintings show the origin he learned from the tradition of American Realism and how innovatively he integrated and created something new in this tradition on his own. “Hopperesque” style seems to be regarded as the new way, even a new term that we shall use as a medium to interpret “realism” in American of modern times. There are four main purposes from this study: 1. To analyze the difference and connection between “Hopperesque” realism and American Realism by clarifying and discriminating the meaning of “realism.” 2. To set forth the origin of American Realism and explain how it developed in every aspect of the phenomenon concerned with “realism” of modern days. 3. To make clear Hopper’s idea about “realism” so we can know better how Hopper chose other ways to express “realistic” things. 4. To discover Hopper’s new position in American Realism so his historic value can be re-evaluated more properly. To realize the purpose of the study and Hopper’s main idea about paintings, the analysis method of style, psychology and iconography all are adopted. First stage engages retracing the origin and influence of Hopper’s style from his family and school education. Then in second stage, it brings up Hopper’s responses to the critics and the criticism itself. Most previous studies infer a conclusion that Hopper is part of American Realism, but in the pilot chapters, it is regarding of demonstrating Hopper’s real place in American Realism and New York painting profession during his lifetime. Finally, after revising Hopper’s definition of realism, the appropriate study of his “realistic” paintings will be carried on. By compiling the relating documents about criticism, discussion and research on Hopper’s artistic characteristics and notions as well as review of style analysis, four respects are discussed in the main text (see Chapter Three): modern life and the cityscape, light and frame, relationship between the two sexes, literary and theatric texts. These materials which not only Hopper but recent research workers regard as a process of his self-analysis can be explained as basis for further study in areas of modern psychology and philosophy. The first two chapters are mainly about the relevant background of Hopper’s style establishing, relation with New York painting groups and his attitude toward Ash Can School and American Scene Movement. And in the categories of philosophy and psychology, of course, such as Plato and Freud, the two scholars whom Hopper’s fondest of, are mentioned in the last two chapters. Regarding these materials of art expression, visual elements of Hopper’s realistic paintings have involved abstract thinking and his ways of seeing the “real” things. In relation with the contemporary movie and theatrical theories about ways of “seeing” or even “a voyeur’s seeing”, we may also have an insight into Hopper’s psychological status and examine the qualities of loneliness and alienation that he highlighted very much. Moreover, they should be correspondent to Hopper’s own repressed erotic imagination or his interests in both urbanization and industrialization in modern America so that we can take Hopper’s paintings as a process of self-examination, self-review and even a mirror of the times. It will lead viewers to learn from such process, improve viewer-painter interaction, adapt the multiple evaluations and gain a profound cognition of Hopper’s realistic paintings. To him, “realistic” technique is not just used as a medium, researchers also become more and more sensitive and serious about Hopper’s aesthetic responses to the reality and express conduct of paintings. The final chapter concludes the latter studies on Hopper’s works and presents the suggestions for the further research. It also implies the potential aspects, objects and the other possible directions of studying Hopper’s realistic paintings. As psychological needs and observing habits has changed, more and more research workers began to study Hopper in many different ways. Hopper’s paintings are no longer the reflection of “reality”, but more complicated and diverse than the reality itself. For this reason, Hopper has created a new kind of realism of “silence” which was called “Hopperesque” style, a new term in American art history, moreover, which enriched the content of American Realism, too. Hopper’s “realistic” paintings are not only a painter’s autobiography, but also already a valuable record of American modern life.

Dissertação de mestrado em Estudos Artísticos (Arte e Violência) apresentada à Fac. de Letras da Univ. de Coimbra
O objectivo desta dissertação é o estabelecimento de uma relação entre cinema e pintura, concretamente, a partir da teoria da imagem, caminhar para a interpretação das obras de Wim Wenders e de Edward Hopper. Partindo-se de aspectos relativos à teoria da imagem, estabelece-se uma relação do cinema com a pintura, especificamente, com a imagem no contexto de cada uma destas artes. Sendo a imagem um poderoso meio da ficção, que existe essencialmente pelo facto de possuir uma capacidade de comunicação única, ela é análoga do real, uma vez que é uma alusão directa à realidade. No âmbito deste estudo, a ligação prende-se com o efectivo realismo da pintura de Edward Hopper, ou seja, com o modo como este pintor representa o objecto. Neste intuito, procurar-se-á elaborar uma análise e estabelecer uma relação entre alguns aspectos visuais mais determinantes no trabalho de Edward Hopper e no filme Don’t come knocking (2005) de Wim Wenders. Por outras palavras, trata-se de estabelecer uma análise entre a relação de diálogo de vários quadros de Hopper com o filme em causa, de Wenders. Esta relação assenta sobre as questões temática, plástica e narrativa, que se encontram subjacentes às imagens pictóricas (Hopper) e cinematográficas (Wenders).
The aim of this dissertation is to establish a relation between cinema and painting, more precisely from the theory of image towards the interpretation of the work of Wim Wenders and Edward Hopper. From aspects related to the theory of image, we establish a relation between cinema and painting, in particular with the image in the context of each one of these arts. As a powerful means of fiction, the image, which exists essentially because of its unique capacity of communication, is analogous to the real – since it is a direct allusion to reality. In the scope of such study, the connection exists with the effective realism of Edward Hopper’s painting, meaning with the way he represents the object. Furthermore, we will attempt to analyse and establish a relation between some visual aspects more relevant in Edward Hopper’s work and the film Don’t come knocking (2005) by Wim Wenders. In other words, it is about establishing an analysis between the relation of dialogue of some Hopper’s paintings with the mentioned film by Wenders. Such relation was based in the theme, plastic and narrative issues that underlie the pictoric (Hopper) and cinematographic (Wenders) images.

The main aim of the Master Thesis is the work of the 1940s by the American painter Edward Hopper (1882-1967) in a relationship to the long poem by Wystan Hugh Auden The Age of Anxiety. A Baroque Eclogue (1947). The Thesis in ten chapters researches Hopper's painting Nighthawks (1942), which is considered to be one of the most important works by Hopper from the war years. Unique position of this painting is reconstructed through intermedial projections and linkages towards the Auden's poem. Next to the interpretation of the intermedial relations, in the centre of the Thesis are time-space relations to Hopper's painting semantics due to period thoughs of temporality, atemporality and aperspectivism. An attention is also paid to the relation of the painting and phenomenology of temporal consciousness and continuance in connection with semantics of the space as "heterotopia".

The primary subject of this thesis is to analyze and discuss the importance of a non-state of mind in the context of our secularized and civilized world. The thesis is of a critical and spiritual character and derives from my experience of living in a stressful world that does not seem to make sense. To change our world into a more harmonious place it is my belief that it is necessary to allow our minds to enter into nothingness, into non-states of minds from which it is possible to reflect upon our world anew from a “ground-zero.” The thesis critically aims to clarify the origins of our present state of world, and analyzes initially the radical impact of René Descartes’ philosophy on modern culture and mentality. Subsequently it takes departure in Jean Jacques Rousseau’s criticism of civilization and in my own belief that there exists an un-measurable, deep and pure dimension in life. A dimension that today’s people in general have become increasingly disconnected from. The thesis explores what has been done artistically to reconnect man to this profound state of pure being, of being in its essence. By analyzing and discussing artworks by Bill Viola, Mark Rothko and Edward Hopper the essay presents artists who thoroughly and consistently have offered alternatives and additional perspectives to the dominant modernist vision in philosophy and art, and to the one-sided materialistic foundation of our civilization based on rationality, division, property and comparison

Tese de mestrado, Educação artística, Universidade de Lisboa, Faculdade de Belas Artes, 2014
The interest in this research topic comes from the professional practice of the researcher. As a Visual Arts teacher she acknowledged that plastic experimentation is not followed by activities designed to develop skills of artistic appreciation. Being aware that school and art education in school have an important role in literacy, understood as the ability to encode and decode various forms of representation, intended to contribute to the development of students' autonomy in discerning visual language. After a review of the literature on developmental stages and models of aesthetic interpretation of the works of art, was outlined an action plan that went through the methodological choice of a case study with students from the 9th grade. The main purpose of this research was to design and analyze the results of the implementation of a program of artistic mediation based on a set of procedures that aim to stimulate dialogue about the work of art. For this, we used the works of artists such as Edward Hopper, René Magritte, Edvard Munch, Henri Matisse, Lucian Freud and Martha Telles, organized according to themes. The study concluded that the dynamics of the discussion about the work of art has revealed that the students have a valid knowledge to bring to the group and the interaction between them was a key factor for the construction of a more accurate language. The students were able to develop a structure that give them a wider range of possibilities in future experiments with other works of art. This research recommends the continuation of other studies on the implementation of this program of artistic mediation in other levels of education and / or in other contexts

碩士
國立臺南藝術大學
藝術史學系藝術史評與古物研究碩士班
107
The 20th century American artist Edward Hopper (1882-1967) was born in a modern world with dramatic social changes. From World War I to WWII, from The Jazz Age to The Great Depression, such a crazy and depressing change had become the multifaceted appearance of modern American daily life. Hopper, who was known for his urban life paintings, had witnessed a constant change in his life, especially the experience of dining in a variety of restaurants was also a valuable source of inspiration for his paintings. In the light of this, this paper mainly discusses the style and meaning of Hopper’s life-long works of restaurants, from the earliest sketches and commercial illustrations, to the watercolor and Hopper’s first oil paintings based on restaurants in Paris, and even from the 1920s to 1950s’ oil paintings based on various types of American restaurants. Scholars tended to explore the feelings of loneliness and alienation which conveyed by the characters and atmosphere in the painting. However, such interpretation may ignore the diverse modern life and culture exhibited by Hopper’s works, such as the flourishing development of restaurant culture in the 20th century. The titles of Hopper’s restaurant paintings (Automat, Tables for ladies, Chop Suey......) reflects that he generally chose the topics of the restaurant culture as the theme of paintings. Meanwhile, it can be found that Hopper often used women as the focus of the picture, which prompted the author to further explore how did he portray the women in these restaurants. Through these paintings of restaurant themes, Hopper’s interviews and his personal records, this paper also includes dining culture and social history, comprehensively examining on the meaning and the cultural context of Edward Hopper’s women and restaurants.

碩士
國立臺灣藝術大學
美術學系
105
Edward Hopper is as quintessentially American as Jackson Pollock or Andy Warhol. Hopper’s art express both of the realistic of American’s landscapes and the subtle melancholies of modern life. Until now, his art still stand for the culture of American icon. In addition to be the observer in the city, Hopper also captured the melancholy mood and isolated landscape on the trip, in where there are on the road, the motels, petrol stations, roadside diners or trains stations, those are the subject matters of travel spaces and the places of transit that Hopper found a kind of alienated poetry. The United States is the birthplace of the "Road Culture", and the paintings of Hopper give the meandering roads, the motels and road diners the symbols of loneliness, which may have witnessed the “Road Culture”. “Road Culture” inspired a lot of artist went on American highway to find their subject matters. This thesis focuses on how Hopper brought back new ideas through traveling, and how he implied this typical American culture and aesthetic by his unique framing and dramatic light.

碩士
國立臺北科技大學
應用英文系碩士班
101
This paper seeks to explore Edward Hopper’s depiction of modern women can be viewed as a remolding of the archetypal women in Greek mythology. To further discuss the recasting of female archetypes in modern American settings, I have collected fifteen poems which were inspired by Edward Hopper’s paintings. Also, I have translated these poems into Chinese, which has helped me in acquiring a deeper understanding of the texts. To make a comparison with six mythical females, the fifteen poems are divided into three categories in terms of the roles women have long been expected to play in our society. This paper thus conducts an analysis of both Edward Hopper’s paintings and the responses of contemporary poets to his portrayal of women. According to Carl Gustav Jung’s idea, the term “archetype” serves as a “collective unconsciousness” (3); a prime example of this is the complex characteristics Edward Hopper projected on his wife and only female model, Josephine Hopper (1883-1968), which bear resemblance to the images of modern women shaped by contemporary poets and the reflections of six women in Greek mythology: Penelope, with her astounding endurance to wait for her husband; Andromache, who lacks the authority to stop the outbreak of war yet knows better than anyone the reality of human limitations; the Sirens, with euphonious but deadly voices; the beautiful witch Circe, with her magic power to transform valiant sailors into dirty swine; the nymph Calypso, smothering a man with deceitful love; and the ferocious witch Medea, sacrificing her children in revenge for a man’s betrayal. Influenced by a strong sense of uncertainty and anxiety toward the rapidly changing society in America, Hopper’s paintings were generally based on the themes of loneliness and alienation. While stressing the indifferent relationships among modern people, Hopper used the color red to depict men’s desire and an inexplicable fear toward women’s rising self-awareness. This is perhaps best exemplified by Hopper and Josephine’s marital relationship, which was built upon reciprocal respect and mutual competitiveness. Thus, from Hopper’s special ways of depicting Josephine, this paper shows that Hopper’s art chronicled the dynamic changes in American gender relations.

Indiana University-Purdue University Indianapolis (IUPUI)
In this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.