Word: hoppers
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Dates: during 1990-1999
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Varied as they were, these people had at least one thing in common: they had come to see the exhibit "Edward Hopper and the American Imagination" during its last weekend on display at the Whitney. And they were willing to wait...
...REALITY OF EDWARD HOPPER...
Kudos to Robert Hughes for his insightful look at the originality of artist Edward Hopper in his report on the show at New York City's Whitney Museum [ART, July 17]. It was once said of Hopper that his paintings were a reflection of his own loneliness. Hopper lent majesty and dignity to ordinary objects (fire hydrants, desk lamps) and to people, whose courage in the midst of desolation he captured with sensitivity and pride. JOHN R. LEOPOLD Pasadena, Maryland...
...postgreenhouse future. The ice caps have melted, and the world is a vast briny sea. Most people live in giant docking stations, atolls, built on water. Prowling the sea like Poseidon's angels are the Smokers, bad guys led by the one-eyed Deacon (Dennis Hopper). The Smokers are looking for Enola (Tina Majorino), a 10-year-old with a map tattoo that may point the way to dry land. With her guardian Helen (Jeanne Tripplehorn), the girl hitches a ride on the trimaran of an outsider--part man, part fish--known as the Mariner (Costner). If anyone in this...
...Hopper gives us a created world, not one that is merely recorded. Everything in it is shaped by memory, sympathy, distance and formal imperatives. Nothing is there merely because it "was there." Mark Rothko hated diagonals, but loved Hopper's. Richard Diebenkorn loved diagonals and loved Hopper's too. As well anyone might: the diagonal, the slanting patch (especially of light) becomes a wonderfully expressive element in Hopper, acting both as a structural brace for the actual painted surface and as a sign of fugitive reality in imagined space. In Morning Sun, 1952, you are acutely aware that...