Word: hoppers
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Dates: during 1950-1959
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Paris that interested Student Hopper. "The light was different from anything I had known," he says. "The shadows were luminous-more reflected light. Even under the bridges there was a certain luminosity. Maybe it's because the clouds are lower, just over the housetops. I've always been interested in light-more than most contemporary painters, and certainly more than the abstractionists...
Withdrawal & Return. History is full of men who withdrew to the desert to learn their true mission. Hopper did the same thing unconsciously and by necessity: he took up commercial art. The advertising and publishing houses that bought his drawings of storybook characters "posturing and grimacing" were desert sands to him: ''Sometimes I'd walk around the block a couple of times before I'd go in, wanting the job for money and at the same time hoping to hell I wouldn't get the lousy thing...
...Hopper yearned simply to "paint sunlight on the side of a house." But his oils lacked the gusto then in fashion. They showed an almost obsessive fear of the flourish. Xo one wanted them. For a whole decade he practically ceased 'painting them. His empty easel was wasteland, and within himself lay wilderness. His friends heard nothing from him; apparently he had gone under...
...very fact of being so cut off from his mission, Edward Hopper was able to bring it into being. Protected from the slow ravages of compromise-either with public taste or with his own immaturity-he developed his style invisibly along with his character. At last he produced some etchings that had a wholly new quality, the quality of himself. There followed a hesitant shower of equally exciting watercolors. and finally more oils. In 1924 he had his first one-man show of new work, which sold out. He married a painter named Josephine Nivison (who had also studied with...
...Peekaboo!" "Recognition doesn't mean so much," says Hopper. "You never get it when you need it." But unlike some flashier reputations, Hopper's held once he got it. He has been top-rated in American art for three decades now. has been heaped, rightly, with honors and awards. The awards have not impressed him. He seems more concerned over the fact that some critics seldom mention him ("It's as if they were embarrassed, or something"). His only comment on the Whitney Museum's great retrospective of his work, staged in 1950, was that...