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.
--This text refers to an alternate