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Edward Hopper Hardcover – June 1, 2007


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Product Details

  • Hardcover: 288 pages
  • Publisher: MFA Publications; First edition (June 1, 2007)
  • Language: English
  • ISBN-10: 9780878467129
  • ISBN-13: 978-0878467129
  • ASIN: 0878467122
  • Product Dimensions: 11.4 x 10.6 x 1.2 inches
  • Shipping Weight: 4.1 pounds (View shipping rates and policies)
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #102,425 in Books (See Top 100 in Books)

Editorial Reviews

Review

Washington DC: National Gallery of Art, 9/07-1/08 --This text refers to an alternate Hardcover edition.

About the Author

Carol Troyen is John Moors Cabot Curator of Paintings in the Department of Art of the Americas at the Museum of Fine Arts, Boston. Judith A. Barter has been the Field-McCormick Chair of the Department of American Art at the Art Institute of Chicago since 1992. Elliot B. Davis is the John Moors Cabot Chair, Art of the Americas, at the Museum of Fine Arts, Boston. --This text refers to an alternate Hardcover edition.

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Customer Reviews

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Text, including extensive notes and bibliography, make up a bit more than half of the book.
wiredweird
Yet, for many of Hopper's works, it is also the "chiaroscuro" that counters so well and his most famous painting, "Nighthawks" is but one example.
Jon Hunt
The illustrations are excellent, virtually full colour throughout, the black and white images being mainly drawings or period photographs.
Benjamin

Most Helpful Customer Reviews

38 of 40 people found the following review helpful By wiredweird HALL OF FAMETOP 500 REVIEWER on June 5, 2007
Format: Hardcover
No one artist could capture anything as broad as the whole of American experience. If such a catalog were assembled, though, it would have to contain works by Hopper.

The book as produced by the Boston Museum of Fine Arts to accompany its 2007 show of Hopper's work. Text, including extensive notes and bibliography, make up a bit more than half of the book. This includes biographical information and analysis. It also contrasts comments on the works when the first appeared, vs. commentary today or just a few years after they appeared.

The artwork, 110 of Hopper's plus 91 supporting works by other artists, really make this book. The cover, 'Chop Suey,' typifies one part of his ouvre. It's a common urban scene, two friends dining in an unpretentious restaurant. One of the women faces directly towards the viewer - it's not the challenge in her gaze that strikes me, but the distance from her dining partner. It's common for people to talk about loneliness in Hopper's work, but I think that's too glib. There are other kinds of solitude and separation, and Hopper distinguishes between many of them.

What Hopper did for the everyday of urban life, he also did for familiar scenes along the Maine and Massachusetts coastlines. Gloucester, Cape Elizabeth, Two Lights - he painted all of them at one time or another. It is enlightening to see his early watercolors and later oils together. They show the progression from fussy rendering of Victorian detail to the monumental, graphic geometries of his later work.

If you're not yet familiar with Hopper's work, you owe it to yourself to learn about his work. Somehow, even seeing it for the first time, you're sure to find something familiar in it.

-- wiredweird
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31 of 32 people found the following review helpful By Benjamin on February 7, 2008
Format: Hardcover
The book was published on the occasion of the exhibition: "Edward Hopper", organised by the Museum of Fine Arts, Boston; the National Gallery of Art, Washington, DC; and the Art Institute of Chicago, 2007-2008. It comprises a series of nine essays by different writers, and concludes with Notes, a Chronology, a Checklist and Figure Illustrations and a Selected Bibliography.

This is a handsome volume large in size and almost square in format, illustrated throughout predominately in colour. The informative essays, each dealing with a specific period or genre, discuss the artist, his work and his methods, are illustrated throughout, with the relevant works appearing on or close to the page on which there are discussed. The illustrations are excellent, virtually full colour throughout, the black and white images being mainly drawings or period photographs. Many of the paintings are reproduced half or full page size, with a few full page bleed images of a detail from selected paintings. The quality of reproduction is excellent, often revealing the brush work and surface texture, and the colour rich and vibrant. In total there are 202 illustrations of which 180 are in full colour, they represent works in oils, watercolours and prints. A very desirable publication.
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28 of 30 people found the following review helpful By R. P. Jones on September 3, 2007
Format: Hardcover Verified Purchase
One of the highlights of my summer was attending the Hopper exhibition at Boston's Museum of Fine Arts, for which this volume (published by the MFA) was the companion text. At 288 pages, mostly filled with suberb reproductions of Hopper's paintings and sketches, this volume is comprehensive enough for even the most devoted Hopper fan. Perhaps only Gail Levin's "Catalogue Raisonne" offers a more comprehensive look at the artist. No matter how many art books you may own, clear a spot on your shelf or coffee table for this one. You will not be disappointed.
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34 of 38 people found the following review helpful By Jon Hunt on June 14, 2007
Format: Hardcover Verified Purchase
This recent publication of the life and works of Edward Hopper, in connection with an ongoing exhibition of Hopper's works at the Museum of Fine Arts in Boston this summer, is one of the finest I've ever seen dedicated to one artist. The chapter presentations by five known experts in the field give us a comprehensive and a more subtle look at Hopper and his influence on twentieth-century American art. As some of the contributors point out, "American" is the operable word as Hopper was quintessentially American and few, if any, match Hopper's mirror of this country from decades past.

Hopper, a true conservative, was influenced nonetheless by French Surrealistic painters and one of the added benefits of this particular book is that there are many representations of works by other artists that had great effect on him. Light was Hopper's main asset and whether he was depicting a lighthouse in Maine or the inside of an apartment in New York, it is the light that catches one's eye first. Yet, for many of Hopper's works, it is also the "chiaroscuro" that counters so well and his most famous painting, "Nighthawks" is but one example. Indeed, an entire chapter is given over to this one painting, often thought (by critics and Hopper, himself) to be his finest.

Reading this book is like attending an art class as every aspect of Hopper's works are discussed....light having already been mentioned, there are also pages devoted to the individuals in his paintings, (never seemingly engaged with one another) the sometimes strange but pleasing geometric angles he presents and his choice of subject material, to name just three others. It came as no surprise to me that Hopper was often at odds with his times.
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