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Edward Hopper's Maine Hardcover – July 25, 2011

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Editorial Reviews

From the Inside Flap

Examining the fruitful summers Hopper spent in Maine between 1914 and 1929, this unique and lavishly illustrated volume features over 100 paintings, watercolors, and drawings, a body of work that is astonishing in its beauty, range, consistency, and importance.

About the Author

KEVIN SALATINO is Director of the Bowdoin College Museum of Art in Brunswick, Maine. CARTER FOSTER is Curator of Drawings at the Whitney Museum of American Art in New York. VINCENT KATZ is a poet, translator, and art critic. STEVE MARTIN is a well-known actor, writer, and art collector. CAROL TROYEN is a leading scholar of Edward Hopper's work. DIANA TUITE is Andrew W. Mellon Curatorial Fellow at the Bowdoin College Museum of Art.
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Product Details

  • Hardcover: 176 pages
  • Publisher: Prestel Publishing; First Edition edition (July 25, 2011)
  • Language: English
  • ISBN-10: 3791351281
  • ISBN-13: 978-3791351285
  • Product Dimensions: 11 x 9.6 x 1 inches
  • Shipping Weight: 2.6 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #562,426 in Books (See Top 100 in Books)

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8 of 9 people found the following review helpful By wiredweird HALL OF FAMETOP 1000 REVIEWER on August 14, 2011
Format: Hardcover
This book catalogs a display at Bowdoin College's art museum, at the time of this writing. I had the pleasure of seeing that show recently, and was knocked flat. The show had only a few of Hopper's iconic oils, including a radiant lighthouse painting, since this show centered on Hopper's work in Maine. This included some watercolors, drawings, and oil studies. For me, though, the biggest treat of the show came in the first of the rooms dedicated to it: thirty small oil studies appeared, done between 1914 and 1919, most of them in their first-ever public appearance, and certainly for the first time as a set. These captivating small works show every sign of quick execution - not hasty, but given no more time than they were worth to Hopper at the moment. Nearly all of them show paint applied thickly, capturing the brush strokes and knife marks that created them. Far more than his finished works, these educated me about his palette and process. I was grateful to see them displayed. So, you can imagine me almost laughing when two older women moved out of that first hall and loudly announced, "The paintings in this room are much better."

No catalog can replace the experience of seeing the paintings in person. This book, however, reproduces all of those little treasures, along with all the other wonders of this display. Even if you can't see the show yourself, this book offers reproductions of paintings that, as far as I know, have never been anthologized before. I got this to freshen my memories of the show, but any Hopper aficionado will value its unique content.

-- wiredweird
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1 of 1 people found the following review helpful By David Kasman on September 13, 2012
Format: Hardcover
This is the first and only book, of which I am aware, to focus solely and comprehensively on Hopper's paintings of Maine. The book was created for a show at Bowdoin College Museum of Art. I was fortunate to be able to see the show and very glad that I purchased this book as well.

To me, the best part of the book and the show was the coverage of Hoppers early, small, low key, direct observation oil studies. The book and show contain the most complete collection of early Maine Hoppers that I have seen under one roof. The only exception as far as completeness goes is the Hopper catalogue Raisonne - though the photographic reproductions and text are far more gripping in this book than the catalogue Raisonne. The text is easy to read and informative, but as is common, there is virtually no discussion of Hopper's methods, materials, palette and so forth. This is particularly disappointing because most of these Maine pictures could be categorized as "painter's paintings" and I would think that many readers of this book would find that interesting. I know I would.

The actor and collector, Steve Martin's contribution to the book is a mere 2 page chapter. (That and lending his Hopper to the show and to grace the book's cover. Don't think this is necessarily some great act of generosity on his part - though it could be. The Museum likely covers the painting's insurance costs and any collector knows that showing a painting in such a show and book adds to a pictures history, boosts its gravitas, and ultimately its' value.) In it he discusses the "great painting", Captain Upton's House, which he owns(cover image). It is a frustrating painting, because despite its many virtues, it fails to convey a cohesive illusion of light or a cohesive sense of solidity, something that Mr.
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Format: Hardcover Verified Purchase
This book shows the seascape side of Edgar Hopper. Within a painterly way, sometimes with strokes and colors that remember the grim painting of Soutine, this book brings us this side of his genius, something different from his more known painting. I'm very happy with my buying.
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By J. C. La Grow on June 20, 2014
Format: Hardcover Verified Purchase
I haven't even read this yeyt, but the pictures make it a treasure already. I am an Edward Hopper fan.
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