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Journal articles on the topic 'Edward Hopper'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Reuterswärd, Patrik. "Edward hopper." Konsthistorisk Tidskrift/Journal of Art History 66, no. 4 (January 1997): 196–206. http://dx.doi.org/10.1080/00233609708604436.

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2

Levin, Gail, and Robert Hobbs. "Edward Hopper." New England Quarterly 61, no. 3 (September 1988): 475. http://dx.doi.org/10.2307/366298.

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3

Crompton, Stephen J. "Realizing Edward Hopper." Iowa Review 41, no. 1 (April 2011): 113–16. http://dx.doi.org/10.17077/0021-065x.6992.

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4

Krauss, Camila. "Admiracion a Edward Hopper." Callaloo 26, no. 4 (2003): 1118. http://dx.doi.org/10.1353/cal.2003.0152.

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5

Dominiczak, Marek H. "Edward Hopper: American Spaces." Clinical Chemistry 63, no. 5 (May 1, 2017): 1056–57. http://dx.doi.org/10.1373/clinchem.2016.266791.

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6

Colburn, Scott. "Edward Hopper Note Cards." Anglican Theological Review 100, no. 3 (June 2018): 600. http://dx.doi.org/10.1177/000332861810000322.

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7

Jr., George H. Roeder, and Gail Levin. "Edward Hopper: An Intimate Biography." Journal of American History 83, no. 2 (September 1996): 684. http://dx.doi.org/10.2307/2945069.

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8

Krauss, Camila, and Steven F. White. "In Admiration of Edward Hopper." Callaloo 26, no. 4 (2003): 1011–12. http://dx.doi.org/10.1353/cal.2003.0151.

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9

Reuterswärd, Patrik. "Än en gång Edward Hopper." Konsthistorisk Tidskrift/Journal of Art History 68, no. 4 (January 1999): 270–73. http://dx.doi.org/10.1080/00233609908604500.

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10

LALETAŞ, Meral. "EDWARD HOPPER, NİGHTHAWKS, ( GECE KUŞLARI )." JOURNAL OF SOCIAL, HUMANITIES AND ADMINISTRATIVE SCIENCES 6, no. 29 (January 1, 2020): 1277–83. http://dx.doi.org/10.31589/joshas.377.

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11

Collins, Emily B. "Self-Portrait by Edward Hopper." JAMA Facial Plastic Surgery 16, no. 3 (May 2014): 165–66. http://dx.doi.org/10.1001/jamafacial.2014.27.

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12

Troyen, Carol. "Edward Hopper and Ryder's House." American Art 20, no. 2 (June 2006): 4–6. http://dx.doi.org/10.1086/507491.

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13

&NA;. "Gas (1940), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1091. http://dx.doi.org/10.1097/00006123-200105000-00024.

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14

&NA;. "Nighthawks (1942), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1182. http://dx.doi.org/10.1097/00006123-200105000-00051.

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15

Miller, Nolan, Gail Levin, Mark Strand, and Lloyd Goodrich. "Edward Hopper: An Intimate Biography." Antioch Review 54, no. 2 (1996): 245. http://dx.doi.org/10.2307/4613323.

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16

McKiernan, Mike. "Edward Hopper, New York Movie 1939." Occupational Medicine 67, no. 3 (March 30, 2017): 174–75. http://dx.doi.org/10.1093/occmed/kqx024.

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17

&NA;. "The Bootleggers (1925), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1187. http://dx.doi.org/10.1097/00006123-200105000-00053.

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18

Hemingway, Andrew. "To “Personalize the Rainpipe”: The Critical Mythology of Edward Hopper." Prospects 17 (October 1992): 379–404. http://dx.doi.org/10.1017/s0361233300004774.

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By the early 1930s Edward Hopper was a major figure in the American art scene. As is well known, Hopper made no significant sales of paintings until the exhibition of his watercolors at the Rehn Gallery in 1924, by which time he was forty-four years old. However, his career takeoff in the late 1920s and early 1930s was certainly dramatic, and in 1933 Forbes Watson could describe him as a “collector's favorite.” In 1924 the standard price of Hopper's watercolors was $150, by 1925 it had risen to $200, and in 1928–29, $300–400 was the norm. In 1929 alone he sold at least fourteen drawings. Between 1924 and 1930 he also sold sixteen oils at prices ranging between $400 and $2,500 dollars. In the 1930s he was getting between $1,500 and $3,000 for an oil painting, and from 1934 to 1939 he sold several watercolors at $750 each. If, asLifereported in 1937, his receipts from sales did not usually come near $10,000 per year, he was still doing a lot better than most other artists in the Depression years.

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19

Rühse, Viola. "Las pinturas de cine de Edward Hopper." Boletín de Arte, no. 20 (September 30, 2020): e023. http://dx.doi.org/10.24215/23142502e023.

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Edward Hopper —muy conocido por sus composiciones artísticas que evocan típicas escenas de películas y que han inspirado a muchos cineastas— frecuentaba el cine muy a menudo y empleaba los exteriores e interiores del cine como tema principal de algunas de sus obras. A continuación, se analizarán tres obras icónicas sobre cines de Edward Hopper: The Sheridan Theatre (1937), The Circle Theatre (1936), and New York Movie (1939), cuyo contexto histórico aún no se ha examinado en detalle. Sus composiciones son muy sofisticadas e ilustrativas al mostrar la historia del cine y de la historia estadounidense de la década de 1930. Hopper llama la atención sobre los problemas urbanos contemporáneos sobre la inquietud por las estrategias de abaratamiento en el negocio de exhibición de películas. También muestra las experiencias cambiantes del cine en la década de 1930 y deconstruye el glamour del trabajo del acomodador y expone la alienación de su trabajo.

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20

Salcman, Michael. "The Art of Edward Hopper (1882–1967)." Neurosurgery 48, no. 5 (May 2001): 1188–90. http://dx.doi.org/10.1227/00006123-200105000-00054.

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21

&NA;. "The Lee Shore (1941), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 983. http://dx.doi.org/10.1097/00006123-200105000-00002.

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22

&NA;. "Pennsylvania Coal Town (1947), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1041. http://dx.doi.org/10.1097/00006123-200105000-00014.

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23

&NA;. "New York Pavements (1924), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1074. http://dx.doi.org/10.1097/00006123-200105000-00020.

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24

&NA;. "Italian Quarter, Gloucester (1912), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1127. http://dx.doi.org/10.1097/00006123-200105000-00032.

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25

&NA;. "Tables for Ladies (1930), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1146. http://dx.doi.org/10.1097/00006123-200105000-00038.

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26

&NA;. "Early Sunday Morning (1930), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1156. http://dx.doi.org/10.1097/00006123-200105000-00042.

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27

Salcman, Michael. "The Art of Edward Hopper (1882–1967)." Neurosurgery 48, no. 5 (May 1, 2001): 1188–90. http://dx.doi.org/10.1097/00006123-200105000-00054.

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28

&NA;. "New York Movie (1939), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1201. http://dx.doi.org/10.1097/00006123-200105000-00069.

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29

Karen Wilkin. "An Edward Hopper Retrospective: The Museum of Fine Arts, Boston, and: Edward Hopper (review)." Hopkins Review 1, no. 3 (2008): 498–503. http://dx.doi.org/10.1353/thr.0.0000.

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30

Joseph Stanton. "Edward Hopper: An Intimate Biography (review)." Biography 21, no. 1 (1998): 97–98. http://dx.doi.org/10.1353/bio.2010.0035.

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31

Bush, Elizabeth. "Edward Hopper Paints His World by Robert Burleigh." Bulletin of the Center for Children's Books 68, no. 2 (2014): 90–91. http://dx.doi.org/10.1353/bcc.2014.0781.

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32

Bush, Elizabeth. "Edward Hopper: Painter of Light and Shadow (review)." Bulletin of the Center for Children's Books 61, no. 3 (2007): 152. http://dx.doi.org/10.1353/bcc.2007.0756.

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33

&NA;. "Compartment C, Car 293 (1938), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 997. http://dx.doi.org/10.1097/00006123-200105000-00004.

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34

&NA;. "Yawl Riding a Swell (1935), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1118. http://dx.doi.org/10.1097/00006123-200105000-00030.

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35

&NA;. "Room in New York (1932), by Edward Hopper." Neurosurgery 48, no. 5 (May 2001): 1190. http://dx.doi.org/10.1097/00006123-200105000-00055.

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36

Abbott, Randy L. "Edward Hopper Encyclopedia2012136Lenora Mamunes. Edward Hopper Encyclopedia. Jefferson, NC: McFarland 2011. viii+188 pp., ISBN: 978 0 7864 4356 7 $55." Reference Reviews 26, no. 3 (March 23, 2012): 47. http://dx.doi.org/10.1108/09504121211211497.

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37

Song, Hye Eun, and Soon Young Chun. "A Psychoanalytic Study on the Symbolic Images of Anxiety in Edward Hopper’s Works." Journal of Arts Psychotherapy 14, no. 2 (June 30, 2018): 145–68. http://dx.doi.org/10.32451/kjoaps.2018.14.2.145.

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38

Salomon Cavin, Joëlle. "Edward Hopper comme contempteur de la ville : un malentendu?" Environnement urbain 8 (December 9, 2014): 106–18. http://dx.doi.org/10.7202/1027741ar.

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Dans cet article, je cherche à comprendre ce qui permet de qualifier un artiste, décrypté à travers ses oeuvres plastiques voire ses écrits, comme hostile à la ville. L’héritage transcendantaliste, le contexte urbain délétère et finalement le contenu même des oeuvres semblent désigner Edward Hopper comme contempteur de l’urbain. Cependant, la similitude des scènes urbaines et rurales remet en cause cette analyse. L’ambivalence de l’oeuvre, surtout en l’absence d’explications de l’artiste, à l’instar de nombreux textes identifiés comme anti-urbains, montre les limites de ce type d’’interprétation. Ce n’est finalement pas l’oeuvre elle-même mais la façon dont elle est citée qui la rende anti-urbaine.

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39

&NA;. "Edward and Jo Hopper in South Truro, Massachusetts (1960)." Neurosurgery 48, no. 5 (May 2001): 1032. http://dx.doi.org/10.1097/00006123-200105000-00012.

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40

Mazow, Leo G. "Edward Hopper, Hotel Management, and the Work of Art." Design and Culture 8, no. 1 (January 2, 2016): 7–25. http://dx.doi.org/10.1080/17547075.2016.1142325.

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41

Bonet, Laureano. "Corredor-Matheos y Edward Hopper (con Carmen Martín Gaite al fondo). Habitación de Hotel." Prosemas 5 (December 15, 2020): 185–205. http://dx.doi.org/10.17811/prep.5.2020.185-205.

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El cuadro de Edward Hopper Habitación de hotel dejó honda huella en José Corredor-Matheos y Carmen Martín Gaite, pertenecientes al mismo grupo generacional aunque con usos estilísticos dispares. Su reacción ecfrástica ante este óleo vendría facilitada por el hecho de que Hopper fue un «pintor para literatos», según lo confirman las numerosas recreaciones poéticas y narrativas de sus cuadros. En el poema «Qué soledad aflige» (2007), Corredor-Matheos se acerca a Habitación de hotel por medio de una escritura ajena a cualquier señuelo mimético, resaltando la abstracción y esencialidad del cuadro: una tensión helada. Por su parte, Martín Gaite —cuyo realismo es subjetivo y emocional— psicologizará este lienzo en «Todo es un cuento roto en Nueva York» (1993) y en la conferencia Hopper. Habitación de hotel (1996). Pese a dicha disparidad escritural, anida en ambos autores una misma respuesta: el ser humano malvive en un mundo inhóspito, que le intensifica la soledad, la angustia y la alienación.

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42

Skårderud, Finn. "Det vonde lyset – våkenhet og melankoli hos maleren Edward Hopper." Tidsskrift for Den norske legeforening 129, no. 19 (2009): 2022–23. http://dx.doi.org/10.4045/tidsskr.09.0914.

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43

Iversen, Margaret. "The World without a Self: Edward Hopper and Chantal Akerman." Art History 41, no. 4 (September 2018): 742–60. http://dx.doi.org/10.1111/1467-8365.12398.

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44

Jackson, W. "To Look: The Scene of the Seen in Edward Hopper." South Atlantic Quarterly 103, no. 1 (January 1, 2004): 133–48. http://dx.doi.org/10.1215/00382876-103-1-133.

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45

Muñoz Pérez, Laura, and Almudena Muñoz Pérez. "Usos cinematográficos de la obra de Edward Hopper. Reclasificación y lecturas complementarias / Cinematographic uses of Edward Hopper's work. Reclassification and complementary readings." Vivat Academia, no. 140 (September 15, 2017): 65. http://dx.doi.org/10.15178/va.2017.140.65-98.

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46

Shin, Kyung-chul, and Ji-won Choi. "A Study on Visual Appropriation Module on Edward Hopper s Work." Journal of Communication Design 73 (October 31, 2020): 67–77. http://dx.doi.org/10.25111/jcd.2020.73.05.

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47

Lewicka, Barbara. "„Nocni włóczędzy”, czyli „miejskość jako styl życia”. Malarstwo Edwarda Hoppera a koncepcja Louisa Wirtha." Kultura i Społeczeństwo 62, no. 3 (September 27, 2018): 169–90. http://dx.doi.org/10.35757/kis.2018.62.3.9.

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The author juxtaposes the ideas contained in the classic essay “Urbanism as a Way of Life” (1938) by the Chicago sociologist Louis Wirth with the Americanism of the New York painter Edward Hopper (active approximately 1900–1967). She seeks parallels between the sociological description of urban conditions and the paintings of an artist who was called the illustrator of the American lifestyle. At the beginning, she discusses American spatial philosophy and the premises of urban researchers connected with the Chicago School. Then she compares a portion of Wirth’s essay and Hopper’s work in terms of their portrayal of the metropolitan lifestyle. She describes the sociologist’s and artist’s pessimistic visions of urbanism, in which urbanization produces the depersonalization of interpersonal relations, isolation, anomie, and the consequent loneliness of individuals.

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48

Molinero Sánchez, Jorge. "Edward Hopper y su casa-estudio en Cape Cod. Dibujos y pinturas entre recuerdos y experiencias." EGA. Revista de expresión gráfica arquitectónica 22, no. 29 (March 28, 2017): 208. http://dx.doi.org/10.4995/ega.2017.7352.

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En 1934 Edward Hopper diseñó y construyó su casa de verano junto al mar en Cape Cod a partir de las experiencias vividas en las casas que habitó y en las arquitecturas de sus cuadros (Figs. 1 a 4). Tomando como base el modelo de casa Cape Cod Cottage, adaptó esta tipología para su nueva residencia tras el conocimiento que de esta construcción había adquirido al pintarla frecuentemente en sus cuadros durante los veranos. El agua de su casa natal de Nyack, la luminosidad del estudio en Nueva York y la posición elevada de los faros de sus lienzos, serán elementos con los que construirá este íntimo espacio para vivir, pensar y pintar. La forma en que Hopper ideó y materializó sus cuadros era similar al proceso de elaboración del proyecto arquitectónico y nos revela un arquitecto que utilizó su experiencia artística para el diseño y construcción de su casa-estudio.

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49

Ching, Barbara. "Transplanted--Edward Hopper in Cedar Rapids, Grant Wood in New York City." Annals of Iowa 78, no. 2 (April 2019): 194–206. http://dx.doi.org/10.17077/0003-4827.12564.

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50

Cohen, Milton A., and J. A. Ward. "American Silences: The Realism of James Agee, Walker Evans, and Edward Hopper." American Literature 58, no. 1 (March 1986): 140. http://dx.doi.org/10.2307/2925963.

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