Edward Hopper, Nighthawks, 1942, Oil on canvas



The Mysterious Mr. Hopper
(Documentary from the BBC's Imagine series - 2004, Season 3, Episode 1)

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adenda:

A yko informa-nos que está patente a exposição Western Motel. Edward Hopper and Contemporary Art no KUNSTHALLE wien, até 15 de Fevereiro.

«Hopper’s pictures “deal with America not only on the surface, but dig deep into the American dream, radically examining this profoundly American dilemma of appearances and reality,” says the German film maker Wim Wenders, who refers to the great American painter Edward Hopper (1882–1967) in his work like many other artists from Alfred Hitchcock and David Hockney to Paul Auster and Peter Handke. Hardly any twentieth-century artist has succeeded in combining existential artistic claims with an aesthetics that describes everyday life, the individual moment, and the iconography of a place in such a poetical and impressive manner. Regardless of the art fashions of his day, Hopper developed a metarealism transforming the subjective perception of reality into something universal, reflecting the isolation of modern urban man, and exploring new forms of visual narration. The representation and manipulation of space, time, light, and shadow are the essential ingredients guaranteeing Hopper’s unbroken topicality in art. His reduced, psychologically charged, and meticulously constructed spaces unfold a lasting tension between the real and the fictitious, specific moments and duration, intimacy and anonymity, nature and civilization.
From Ed Ruscha’s stereotype condensations of the American myth and Rachel Whiteread’s and David Claerbout’s investigations of space-time coordinates to the homelessness of present-day existence as mirrored in Philip-Lorca diCorcia’s and Tim Eitel’s work, Hopper’s oeuvre finds its echo in the exhibition’s contemporary positions. Hopper’s works continue to describe the state of today’s world, his cinematographic view providing the starting point for narrative inventions and imaginations in space and time.

Participating artists:
Edward Hopper and David Claerbout, Dawn Clements, Jonas Dahlberg, Thomas Demand, Gustav Deutsch, Philip-Lorca diCorcia, Tim Eitel, Jim Jarmusch, Rachel Khedoori, Mark Lewis, Ed Ruscha, Markus Schinwald/Oleg Soulimenko, Jeff Wall, Rachel Whiteread

Curator: Gerald Matt, Director Kunsthalle Wien
Academic advisors: Carter Foster (curator, Whitney Museum of American Art, New York), Angela Stief (curator, Kunsthalle Wien), Ilse Lafer (assistant curator, Kunsthalle Wien), Lucas Gehrmann (independent curator)»

in http://www.kunsthallewien.at/en/events/index.shtml?id=2568

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A viagem continua

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O gotasdagua fez 4 anos na sexta-feira passada, 23 de Janeiro.
A viagem continua.


Edward Hopper, Compartment C, Car 193, 1938

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Esta foi a primeira imagem deste blog.
Faz hoje 2 anos.



Edward Hopper, Compartment C, Car 193, 1938

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Edward Hopper & Woody Allen

A ver na La Boîte à Images

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Eterno retorno a Edward Hopper.
Dê as voltas que der.


Edward Hopper, Dawn in Pennsylvania, 1942

A ver:
An Edward Hopper Scrapbook
«This scrapbook, compiled by the staff of the Smithsonian American Art Museum, offers a glimpse into Hopper's life, his friends, and the paintings that have fascinated art lovers worldwide ever since Hopper first came to prominence during the mid 1920s. (...)»

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Edward Hopper, Room in Brooklyn, 1932

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Edward Hopper, Morning sun, 1952

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Edward Hopper, Hotel by a Railroad, 1952

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Edward Hopper, Excursion Into Philosophy (study), 1959

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Edward Hopper, City Roofs, 1932

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Edward Hopper, Approaching a City, 1946

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Edward Hopper, Early Sunday Morning, 1930

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Edward Hopper, Early Sunday Morning, 1930

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Edward Hopper, Sunday, 1926

85
Era uma vez uma ocasião em que todos estavam à espera. Sentados à porta de casa passavam às vezes pelas portas olhando de dentro ou para dentro debatendo-se na impossibilidade de saber se a porta dava realmente acesso ou o impedia. Essas criaturas chamavam-se Antes e viviam no delírio do aparecimento.

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A memória é essa claridade fictícia das sobreposições que se anulam. O significado é essa espécie de mapa das interpretações que se cruzam como cicatrizes de sucessivas pancadas. Os nossos sentimentos. A intensidade do sentir é intolerável. Do sentir ao sentido do sentido ao significado: o que resta é impacto que substitui impacto - eis a invenção.

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O conferencista declara: a distracção é uma forma última da ocultação. Depois acrescenta: a arte mais antiga é a funerária porque toda a memória o é. Então eu penso: quem tem sentimentos acerca das coisas fica prisioneiro do tempo.

Ana Hatherly in 351 tisanas, Lisboa, Quimera, 1997

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Edward Hopper, Approaching a City, 1946

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.a história é infinita. podemos interceptá-la em qualquer ponto. era uma vez uma cidade onde os habitantes sabiam tanto do sofrimento humano que quando acordavam deitavam-se logo.

Ana Hatherly in 351 tisanas, Lisboa, Quimera, 1997, p. 45

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Edward Hopper, Light at Two Lights, 1927, watercolour

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Edward Hopper, Room in Brooklyn, 1932

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Edward Hopper, Compartment C, Car 193, 1938

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