![]() ![]() Sunlight in a cafeteria - Second story sunlight - New York office ![]() It shows how, by linking fiction and reality, concealment and revelation, Hopper's images evoke an enigmatic uncertainty, which is both mystifying and fascinating."-JacketĮarly Sunday morning - Manhattan Bridge loop - Gas - New York movie - Office at night - Nighthawks - Hotel lobby - Seven A.M. ![]() He seemed to analyze the psychological restrictions and isolation of everyday life as well as the joy and freedom of vacation." "This volume superbly illustrates this dichotomy with full-color reproductions of many of Hopper's most famous compositions. On the other hand, Hopper painted the landscape of New England, where he spent almost every summer with his wife Jo, as bright and tranquil. On the one hand, his compositions depict deserted small towns or solitary figures in empty offices, desolate houses, or hotel rooms. ![]() They depict the loneliness, anonymity, and lack of variety in the daily life of ordinary people." "Edward Hopper: Portraits of America examines the apparent dichotomy within Hopper's oeuvre. Several of his paintings, such as House by the Railroad (1925), Early Sunday Morning (1930), and Nighthawks (1942), have become icons of modern American art. His passion was to portray "typical America" his city- and landscapes are vivid reflections of the then contemporary American life. "Edward Hopper was one of the finest American Scene painters in the Realist tradition. ![]()
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