Word: hoppers
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Dates: during 1970-1979
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...Hopper took off for Paris, returning twice in the next several years. Typically, he took no part in the Parisian whirl, where Picasso and Braque were busy trying to revolutionize painting. He remained a light-struck realist to the end of his days. His early work shows, however, that the shapes and, above all, the light of Paris, as well as the Impressionist ambience, did much for his eye and his palette. Back in the U.S., the attractive blur of Impressionism vanishes from his oils. The light flattens, shadows are sharper and more sculptural, forms grow increasingly solid and defined...
Such etchings sold, and thus encouraged, Hopper began to paint oils again and experiment with watercolors. He was also drawing from the nude at the Whitney Studio Club in Manhattan. The works of this period show he was a good draftsman who could depict a naked woman with an earthy sensuousness that Renoir might have approved. In the early '20s on a trip back to the New York School of Art, he became interested in Art Student Josephine Verstille Nivison, a small, vivid, thirtyish woman whose volubility and quick wit were the exact opposite of Hopper's quiet...
...Hopper's life was doubly isolated after marriage. Jo briskly set herself up as his defense against the world. During the rare interviews that Hopper granted, she did most of the talking. Once, excusing herself to go to the bathroom, she warned Hopper...
...Hopper bore these goings on with stoic tolerance, only occasionally interjecting in the midst of one of her conversational spasms a resigned "Oh, Jo." Mrs. Hopper had her own complaint. "Sometimes talking with Eddie is just like dropping a stone in a well, except that it doesn't thump when it hits bottom...
...After Me." What the new show emphasizes again is that Hopper was not just a visual annotator. Though it is full of those notations-either discarded or incorporated and transformed into finished works. These pictures reveal an involved man painting his own condition...