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Edward Hopper Hardcover – May 11, 2010


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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: 12 x 11.3 x 1.3 inches
  • Shipping Weight: 4.4 pounds (View shipping rates and policies)
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #756,672 in Books (See Top 100 in Books)

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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Customer Reviews

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Delighted at the quality and speed of this transaction.
Peter Geddes
The texts discuss a wide range of topics ranging from his life and working methods to his time spent in Paris to his influence on the movie industry.
Elliot Silvera
There's a lot of work here, including a number of etchings, from Hopper's earlier ouvre as well.
wiredweird

Most Helpful Customer Reviews

33 of 33 people found the following review helpful By wiredweird HALL OF FAMETOP 500 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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27 of 30 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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1 of 1 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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1 of 1 people found the following review helpful By Stephen Quinn on January 6, 2011
Format: Hardcover
A gorgeous book with a well-written, informative and enjoyable text. Obviously I wish there could be more color in the book--but it's an older book and they couldn't do as much color then, and I doubt that could be upgraded for a reprint edition at half the price.

The size is a great factor, too--the book is huge and you get the feeling you're looking at the actual size watercolors in that part of the book.
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11 of 17 people found the following review helpful By Burak Kilic on May 5, 2003
Format: Hardcover
I came across Hopper's paintings, when I was doing reproductions of famous artists as my partial work in high school. They immediately caught my attention and excitement, as they had an odd quality, which no other painters had in their work. Vast spaces, empty streets, newly-woke-up ladies in old-fashion motel rooms, extreme light conditions that contradicted the monotonousness in some way... These are some of the major images one is apt to see in Hopper's works.
Hopper's paintings seem to depict the 20s-40s of America, in the context of local towns, cafes, old rooms, within the frame of realism. He's usually painted his figures in an alignment, that does not let us see their faces nor fronts. Instead, the sun has the right to see them, which casts bright light rays into dark rooms.
I think that Hopper seems to be content with the way of living in America, and how people of it carry on their lives. The paintings may indicate some not-so-happy situations, but they do not depict depression. Therefore, I think that Hopper is the best representative of American culture in the early twentieth century in that sense.
I haven't purchased the book yet; but had a chance to look at it in the school's library. The book contains many of his paintings, and Goodrich's comments show some level of apprehension and knowledge of Hopper's work. It is concise and comprehensive, and I recommend it to everybody. Hopper is certainly one of the most affective artists of the twentieth century and all times.
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