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Edward Hopper Hardcover – May 11, 2010

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Editorial Reviews

From Publishers Weekly

"For all his realism, Hopper was essentially a poet," writes Goodrich, and this sumptuous album, a reissue of an out-of-print 1970 monograph, is an incomparable guide to understanding that poetry. Hopper (1882-1967) gravitated to painting lunch counters, nudes in hotel rooms, lighthouses, gas stations, rooftops--underappreciated, nakedly honest figurations of America's heartland. A prophet of loneliness, this laconic individualist captured the anarchy of American cities, the quiet melancholy of small towns and suburbs. Paradoxically, his pictures have a restorative, bracing effect--perhaps, as is suggested here, because of Hopper's emotional attachment to his native environment. The late Goodrich was director of the Whitney Museum in New York and a friend of the artist, whose own comments are interspersed with a refreshingly readable text and more than 200 full-page plates.
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

About the Author

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.

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Product Details

  • Hardcover: 280 pages
  • Publisher: Skira (May 11, 2010)
  • Language: English
  • ISBN-10: 8857202836
  • ISBN-13: 978-8857202839
  • Product Dimensions: 11.4 x 1.3 x 12.1 inches
  • Shipping Weight: 4.4 pounds (View shipping rates and policies)
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Best Sellers Rank: #945,380 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

34 of 34 people found the following review helpful By wiredweird HALL OF FAMETOP 1000 REVIEWER on January 15, 2005
Format: Hardcover
Edward Hopper is best known for his urban, moody paintings. He painted traditional rural landscapes, and seaside scenes along the New Englad coast, too. What he captured best, though, was urban life in the 1940s.

He seems to have caught it all, the bridges, trains, opera, and tenements, at every hour of day and night. And very often he captured someone, often a woman, in a moment of solitude. These scenes border on voyeurism, the unguarded moments when his subjects might be dressed, or partly, or not - with no one to dress for, it hardly matters. There is nothing erotic in these nudes and semi-nudes. In fact, I quite like the unposed, unpoised relaxation of the moment. Hopper is quite capable of showing a female figure as strong and desirable, as in "Office at Night" or "Summer Evening" I sympathize more with the figures who have no one to pose for; they seem more honest somehow.

People say that many of his paintings are about loneliness, and that may be true. I think more of them are about solitude, or separation, or the invisible walls that people erect to keep themselves sane in the urban crush. In "Two on the Aisle," as in so many paintings of two or more people, the two parties seem barely aware of each other. Even within the couple, they scarcely look at each other, as if long familiarity means there's nothing new to see.

Of 246 paintings reproduced here, only 88 are in color. They are well printed, and capture Hopper's generally subdued palette. They are just enough to make me greedy, though, and to wish I could see more in the colors that Hopper gave them. There's a lot of work here, including a number of etchings, from Hopper's earlier ouvre as well. I don't mean to neglect those works, but his 40s and 50s pieces have an incredible power over me.
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28 of 31 people found the following review helpful By A Customer on August 13, 1998
Format: Hardcover
Most comprehensive single volume regarding Hopper and his work, that I am aware of, and the reprints of the work are accurate and true to the originals. A significant book about a significant painter.
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5 of 5 people found the following review helpful By Brian A. Griffin on February 16, 2008
Format: Hardcover
Edward Hopper has left a legacy of work that is once familiar and elusive in the American consciousness. This monograph examines Hopper's world on canvas by placing his work within the context of the changes brought about by America's history and technology. From silent urban scenes to countryside vistas, particular attention is paid to the introduction of the automobile into American life, as well as such modern surroundings as fluorescent lighting, diners, and rail travel, all of which lent unique subject matter to Hopper's paintings. The text provides a comprehensive look at artist's life and includes a bibliography and chronology.

The author, Lloyd Goodrich (1897-1987) was director of the Whitney Museum in New York and a leading author and advocate of American art for more than a half century.

The bequest of the Edward Hopper collection, by Hopper's widow Josephine, in 1968, also resulted from Mr. Goodrich's reputation as the leading scholar and friend of Edward Hopper. Today, the collection of some 2,000 works by Hopper is a major strength of the museum, and makes it the world's major center for st dy of the artist.

As the director of the Whitney Museum, from 1958 to 1968, Mr. Goodrich guided its transition from an essentially private institution to a public one, broadening its governing board beyond the family of Gertrude Vanderbilt Whitney, who founded the museum in 1930, to include many individuals and arts patrons from New York society. He also presided over construction of the museum's present quarters, at Madison Avenue and 75th Street, a controversial but generally popular building designed in distinctive minimalist style by the architect Marcel Breuer in 1966. Changed View of American Art.
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2 of 2 people found the following review helpful By John P. Jones III TOP 1000 REVIEWERVINE VOICE on October 6, 2014
Format: Hardcover
... everything was too beautiful and from his standpoint unpaintable." Hum! And so what happens? His wife Jo packed his watercolor kit for him to go out, and later found him in the nearby (Santa Fe) railroad yard painting a locomotive. The author, Lloyd Goodrich, who personally knew Edward Hopper, provides numerous anecdotes such as the above to enrich this work. But the real reasons to purchase this oversize book are the reproductions of the paintings and the sketches. They are numerous and of high quality. I must confess to having purchases this premium work from the "remainder table" in a local bookstore (in Atlanta) in the mid-90's, for, well, not very much. The heartbreak of any author: a lot of hard work, and then to see it thrown in the discard pile, and sold by weight.

Hopper was born in Nyack, New York in 1882, and died in his apartment, on Washington Square, NYC, in 1967. His early training as a painter was in... no surprise... France, before "The Great War," yet the various movements, from Impressionism, Cubism, et al., did not seem to directly impact his style. He did appreciate the beauty of the country, and told the author that "...after France the United States seemed `a chaos of ugliness.'" Yet he "settled down" in America, and became one the quintessential American painters, with a vision that chose to document the commonplace urban and rural scenes. As Goodrich says: "....all the sweltering, tawdry life of the American small town, and behind all, the sad desolation of our suburban landscape. He derives daily stimulus from these, that others flee from or pass with indifference."

He married Jo, in 1925, who was almost always the nude model for his paintings. They appeared to be soul mates, and their marriage lasted 42 years until his death.
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