Word: hoppers
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Those familiar with Feininger evidently were not so familiar with him to know he really was American. They protested his place next to Hopper, O'Keeffe, John Marin and others. Adding Feininger to an exhibit of German artists a short time later only threatened to make matters worse. Norris has tried to clarify, if not resolve, the misunderstanding by simply calling Feininger an American abroad and framing Feininger's productive years as a German phase...
...night. Sloan recalled 50 years later that Henri was "a catalyst, an enthusiast ... with the pioneer's contempt for cant and aestheticism." Moreover, he was genuinely interested in the young, and was to inspire several generations of students--not only his younger contemporaries like Sloan and Bellows, but Edward Hopper and Stuart Davis, the Dadaist Man Ray and, strange to say, Leon Trotsky, who briefly studied art at the Ferrer School in New York when Henri was teaching there...
...which people are caught unawares--arguments on the fire escape, a woman pegging out the wash, lovers furtively embracing on the tenement roof. And though his vision was less flamboyant than Henri's or Bellows', he clearly had a deep effect on younger painters like Reginald Marsh and Hopper. His moments of voyeuristic detachment were amplified in Hopper's glimpses of disconnected urban souls seen through windows. One wants to see more of Sloan; when will some American museum give him the retrospective he deserves...
...those who do not find the evolution of etching gripping, this exhibit is still worthwhile for the works included by prominent contemporary artists not known for their printmaking. The three pieces by painter Edward Hopper reveal an artist gaining confidence in his peculiar vision. His paintings at first unrecognized, Hopper turned to etching, producing 60 works before 1928, several of which received acclaim...
This public approval prompted Hopper to return to painting in the 1920s. According to the exhibition text, Hopper declared, "After I took up etching, my painting seemed to crystallize." And his etchings make perfect sense within the development of his work: by using the whitest paper and darkest ink available, he achieves a high contrast which evokes the stark, lonely quality of his paintings. The subject matter and mood anticipate those of his more renowned work: American streets and window scenes in which the human figures seem merely part of the still and vastly solitary environment...