Word: seenes
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Dates: during 1950-1959
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...dazed eyes of Hungarian refugees in Andau. a small Austrian border town east of Vienna, the awful majesty of the United States of America was seen in the face of a bureaucrat. It was a stern face, a doubting face, and behind it lay the answer as to whether each particular refugee could find haven in the U.S. The tired, dazed refugee could hardly be expected to notice that it was also a red-eyed face, a face sagging with weariness in a round-the-clock humanitarian effort. From their Communist masters, the Hungarians had heard much about the face...
...Seen That!" With Thomas Cole's founding of the "Hudson River School." the emphasis in U.S. art shifted from people to nature. Cole's Arcadian views, seemingly observed through a dusty brass telescope, opened the way for a score of great artists who wedded themselves to the infinitely various U.S. landscape. Then, in the supposedly materialistic era following the Civil War, three titans loomed on the horizon of U.S. art, as they still do today: Ryder, Homer and Eakins. Ryder saw life as something of a dream, Homer as a struggle, and Eakins as a solemn commitment. Each...
...enrolled in Robert Henri's art school on Manhattan's 57th Street. Henri was the presiding genius of an American art movement sneeringly dubbed the "Ash Can School." Instead of the vapid, idealistic studio pictures then in favor, the Ash Can painters showed what they had seen on the streets, in bold style. Hopper found their approach to subject matter agreeable, though their dark, flamboyant technique was not for him. "The only real influence I've ever had," he says, "was myself...
...Emerson's applies very well to Hopper's own paintings: "In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty." Hopper is clearly a genius of this kind; he paints not only what Amer icans have seen from the corners of their eyes, but also what they have dimly thought and felt about...
Slow Local. However dreary his subject matter, Hopper invariably bathes it in pure, liquid-seeming light. He is as reticent in applying paint to canvas as the abstract expressionists are bold, giving his pictures a single overall surface, as if they were seen through a picture window. By suppressing all details that would not be noticed in a passing glance, and arranging his compositions to suggest that the scene extends far beyond the frame, he puts his picture window in motion. Seeing a Hopper exhibition is like floating through people's backyards on a slow local, in a state...