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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...

Author: By Sarah J. Schaffer, | Title: Hopper's Wistful Legacy | 10/20/1995 | See Source »

...wanted to see the exhibit for months. Before this, my experience of Hopper had been limited to reproductions taped to my walls and to three small paintings at the Museum of Modern Art in New York. I did not realize so many others would come, and I wondered why they were there...

Author: By Sarah J. Schaffer, | Title: Hopper's Wistful Legacy | 10/20/1995 | See Source »

...Hopper's paintings stand as American icons, so worked into our consciousness that nearly everyone will recognize his style, but many may not know his name...

Author: By Sarah J. Schaffer, | Title: Hopper's Wistful Legacy | 10/20/1995 | See Source »

Other paintings in the exhibit showed a similar lack of community. Hotel rooms and trains, one person in each, dominate Hopper's landscape; gray office buildings and solitary Cape Cod houses illuminated by eerie winter light are de rigeur. His colors are often lurid, with chartreuse green on a living room wall where the floral wallpaper should be, and his subjects' eyes are often mere black dots...

Author: By Sarah J. Schaffer, | Title: Hopper's Wistful Legacy | 10/20/1995 | See Source »

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...

Author: /time Magazine | Title: Letters, Aug. 7, 1995 | 8/7/1995 | See Source »

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