LaurieAnnie's photos with the keyword: Hopper

Tables for Ladies, 1930 Edward Hopper (American, 1882–1967) Oil on canvas 48 1/4 x 60 1/4 in. (122.6 x 153 cm) George A. Hearn Fund, 1931 (31.62) Tables for Ladies places the viewer directly outside the front window of an ordinary restaurant in New York City. The viewer's gaze is directed past the menu cards and the vividly painted foods in the window display and the waitress who leans forward to adjust them, into an interior of polished wood, tiled floors, and wall mirrors where a man and woman eat and a cashier attends to business at her register. Hopper painted this large canvas in the studio, working from sketches that he had made of local restaurants. Yet despite the bright lighting and the warm, even garish, colors, this is not a particularly festive scene. The two diners chat between themselves, but the cashier and the waitress are lost in their separate thoughts and duties. As in many of his works, Hopper indirectly comments on the loneliness and weariness that so many city dwellers experience. Despite Hopper's reluctance to assign historical context to his work, this painting also speaks of several social changes of the era. For example, it represents the new roles that women were occupying in public; both the cashier and the waitress, for example, are women working outside the home. The title also alludes to a recent social innovation, in which dining establishments advertised "tables for ladies" in order to welcome their newly mobile female customers. In the past, it had often been assumed that women appearing alone in restaurants or bars were prostitutes in search of business; now, dining on their own or with other women, they would be treated respectfully. In addition, the date of this painting serves as a reminder that Hopper was living in New York during the Great Depression, when many Americans could not afford to dine out, even at such an unpretentious establishment as this one. Text from: www.metmuseum.org/toah/works-of-art/31.62

Tables for Ladies, 1930 Edward Hopper (American, 1882–1967) Oil on canvas 48 1/4 x 60 1/4 in. (122.6 x 153 cm) George A. Hearn Fund, 1931 (31.62) Tables for Ladies places the viewer directly outside the front window of an ordinary restaurant in New York City. The viewer's gaze is directed past the menu cards and the vividly painted foods in the window display and the waitress who leans forward to adjust them, into an interior of polished wood, tiled floors, and wall mirrors where a man and woman eat and a cashier attends to business at her register. Hopper painted this large canvas in the studio, working from sketches that he had made of local restaurants. Yet despite the bright lighting and the warm, even garish, colors, this is not a particularly festive scene. The two diners chat between themselves, but the cashier and the waitress are lost in their separate thoughts and duties. As in many of his works, Hopper indirectly comments on the loneliness and weariness that so many city dwellers experience. Despite Hopper's reluctance to assign historical context to his work, this painting also speaks of several social changes of the era. For example, it represents the new roles that women were occupying in public; both the cashier and the waitress, for example, are women working outside the home. The title also alludes to a recent social innovation, in which dining establishments advertised "tables for ladies" in order to welcome their newly mobile female customers. In the past, it had often been assumed that women appearing alone in restaurants or bars were prostitutes in search of business; now, dining on their own or with other women, they would be treated respectfully. In addition, the date of this painting serves as a reminder that Hopper was living in New York during the Great Depression, when many Americans could not afford to dine out, even at such an unpretentious establishment as this one. Text from: www.metmuseum.org/toah/works-of-art/31.62

Tables for Ladies, 1930 Edward Hopper (American, 1882–1967) Oil on canvas 48 1/4 x 60 1/4 in. (122.6 x 153 cm) George A. Hearn Fund, 1931 (31.62) Tables for Ladies places the viewer directly outside the front window of an ordinary restaurant in New York City. The viewer's gaze is directed past the menu cards and the vividly painted foods in the window display and the waitress who leans forward to adjust them, into an interior of polished wood, tiled floors, and wall mirrors where a man and woman eat and a cashier attends to business at her register. Hopper painted this large canvas in the studio, working from sketches that he had made of local restaurants. Yet despite the bright lighting and the warm, even garish, colors, this is not a particularly festive scene. The two diners chat between themselves, but the cashier and the waitress are lost in their separate thoughts and duties. As in many of his works, Hopper indirectly comments on the loneliness and weariness that so many city dwellers experience. Despite Hopper's reluctance to assign historical context to his work, this painting also speaks of several social changes of the era. For example, it represents the new roles that women were occupying in public; both the cashier and the waitress, for example, are women working outside the home. The title also alludes to a recent social innovation, in which dining establishments advertised "tables for ladies" in order to welcome their newly mobile female customers. In the past, it had often been assumed that women appearing alone in restaurants or bars were prostitutes in search of business; now, dining on their own or with other women, they would be treated respectfully. In addition, the date of this painting serves as a reminder that Hopper was living in New York during the Great Depression, when many Americans could not afford to dine out, even at such an unpretentious establishment as this one. Text from: www.metmuseum.org/toah/works-of-art/31.62

The Lighthouse at Two Lights Edward Hopper (American, Nyack, New York 1882–1967 New York City) Date: 1929 Medium: Oil on canvas Dimensions: H. 29-1/2, W. 43-1/4 in. (74.9 x 109.9 cm) Classification: Paintings Credit Line: Hugo Kastor Fund, 1962 Accession Number: 62.95 Description: Edward Hopper's early training from 1900 to 1906 at the New York School of Art with Robert Henri, leader of The Eight, and his work as an illustrator between 1899 and 1924, led him to paint realistic scenes of urban and rural America. In 1924 a successful gallery exhibition in New York enabled him to give up commercial work altogether and concentrate full time on painting. Hopper depicted his favored subjects — cityscapes, landscapes, and room interiors — solemnly, in carefully composed compositions that seem timeless and frozen but are animated by the effects of natural and man-made light. As fellow painter Charles Burchfield wrote for the catalogue of the Museum of Modern Art's 1933 Hopper retrospective: "Hopper's viewpoint is essentially classic; he presents his subjects without sentiment, propaganda, or theatrics. He is the pure painter, interested in his material for its own sake, and in the exploitation of his idea of form, color, and space division." In "The Lighthouse at Two Lights" Hopper isolated the dramatic silhouette of the 120-foot-high lighthouse tower and adjoining Coast Guard station against the open expanse of blue sky. Set on a rocky promontory in Cape Elizabeth, Maine — though no water is visible in the painting — the architecture is bathed in bright sunlight offset by dark shadows. Since 1914 Hopper had regularly summered in Maine, and this picture is one of three oils and several watercolors that he did of this site during summer 1929. To Hopper, the lighthouse at Two Lights symbolized the solitary individual stoically facing the onslaught of change in an industrial society. The integrity and clarity of his work made Hopper a quiet force in American art for forty years and one of America's most popular artists. Text from: www.metmuseum.org/Collections/search-the-collections/2100...

Edward Hopper (artist) American, 1882 - 1967 Cape Cod Evening, 1939 oil on canvas overall: 76.2 x 101.6 cm (30 x 40 in.) framed: 106.7 x 132.1 cm (42 x 52 in.) John Hay Whitney Collection 1982.76.6 On View "My aim in painting," explained Edward Hopper, "has always been the most exact transcription possible of my most intimate impressions of nature." Claiming the figures in Cape Cod Evening were done almost entirely without models, and the dry, blowing grass could be seen from his studio window in the late summer or autumn, Hopper continued: "In the woman I attempted to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill or some evening sound." Despite his matter-of-fact account, Hopper also has endowed this ostensibly straightforward work with a strong, albeit ambiguous, emotional undercurrent. The sense of eerie calm is due, in part, to the serene effect of the golden twilight sun that illuminates the grass in front of the Victorian house, but fails to penetrate the dense forest beyond. The middle-aged rural couple seem to lack any emotional rapport; they project a mood of self-absorption, futility, and alienation that typifies much of Hopper's figurative work. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=61252

Edward Hopper (artist) American, 1882 - 1967 Cape Cod Evening, 1939 oil on canvas overall: 76.2 x 101.6 cm (30 x 40 in.) framed: 106.7 x 132.1 cm (42 x 52 in.) John Hay Whitney Collection 1982.76.6 On View "My aim in painting," explained Edward Hopper, "has always been the most exact transcription possible of my most intimate impressions of nature." Claiming the figures in Cape Cod Evening were done almost entirely without models, and the dry, blowing grass could be seen from his studio window in the late summer or autumn, Hopper continued: "In the woman I attempted to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill or some evening sound." Despite his matter-of-fact account, Hopper also has endowed this ostensibly straightforward work with a strong, albeit ambiguous, emotional undercurrent. The sense of eerie calm is due, in part, to the serene effect of the golden twilight sun that illuminates the grass in front of the Victorian house, but fails to penetrate the dense forest beyond. The middle-aged rural couple seem to lack any emotional rapport; they project a mood of self-absorption, futility, and alienation that typifies much of Hopper's figurative work. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=61252

Edward Hopper (artist) American, 1882 - 1967 Cape Cod Evening, 1939 oil on canvas overall: 76.2 x 101.6 cm (30 x 40 in.) framed: 106.7 x 132.1 cm (42 x 52 in.) John Hay Whitney Collection 1982.76.6 On View "My aim in painting," explained Edward Hopper, "has always been the most exact transcription possible of my most intimate impressions of nature." Claiming the figures in Cape Cod Evening were done almost entirely without models, and the dry, blowing grass could be seen from his studio window in the late summer or autumn, Hopper continued: "In the woman I attempted to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill or some evening sound." Despite his matter-of-fact account, Hopper also has endowed this ostensibly straightforward work with a strong, albeit ambiguous, emotional undercurrent. The sense of eerie calm is due, in part, to the serene effect of the golden twilight sun that illuminates the grass in front of the Victorian house, but fails to penetrate the dense forest beyond. The middle-aged rural couple seem to lack any emotional rapport; they project a mood of self-absorption, futility, and alienation that typifies much of Hopper's figurative work. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=61252

Edward Hopper (artist) American, 1882 - 1967 Cape Cod Evening, 1939 oil on canvas overall: 76.2 x 101.6 cm (30 x 40 in.) framed: 106.7 x 132.1 cm (42 x 52 in.) John Hay Whitney Collection 1982.76.6 On View "My aim in painting," explained Edward Hopper, "has always been the most exact transcription possible of my most intimate impressions of nature." Claiming the figures in Cape Cod Evening were done almost entirely without models, and the dry, blowing grass could be seen from his studio window in the late summer or autumn, Hopper continued: "In the woman I attempted to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill or some evening sound." Despite his matter-of-fact account, Hopper also has endowed this ostensibly straightforward work with a strong, albeit ambiguous, emotional undercurrent. The sense of eerie calm is due, in part, to the serene effect of the golden twilight sun that illuminates the grass in front of the Victorian house, but fails to penetrate the dense forest beyond. The middle-aged rural couple seem to lack any emotional rapport; they project a mood of self-absorption, futility, and alienation that typifies much of Hopper's figurative work. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=61252