By Gerry Souter
Annotation In his works, Hopper poetically expressed the solitude of guy faced with the yank lifestyle because it constructed within the Twenties. encouraged through the films and especially by way of a number of the digital camera angles and attitudes of characters, his work divulge th
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Street level awnings hide the shopping populace from view. A quirk of the light singles out a white frame house and yellow trolley-car at the end of the main street, but the rest of the pavement activity is only suggested by strategic paint dabs as low clouds roll overhead before the arrival of a summer rainstorm. Invigorated by his summer of painting, Hopper joined Kroll, George Bellows, eight other hopefuls and the ubiquitous Robert Henri back at the MacDowell Club. In January 1913, when the hanging was completed and the doors opened, Hopper had hung two paintings, Squam Light and La Berge, yet another of his Paris paintings of the Seine.
6 cm. Whitney Museum of American Art, New York, Once again, Robert Henri’s Ash Can artists organised a show to run from 1-27 April 1910 in a former warehouse on West 35th Street. This Exhibition of Independent Artists not only flew in the Josephine N. Hopper Bequest. face of New York’s art academia, it overlapped with the dates of a show at the National Academy of Design. The exhibition offered wall space to artists for a fee of $10 for one painting and – such 22. James Abbott Whistler, a deal – only $18 for two.
Claude Monet, Le Pont de l’Europe, gare Saint-Lazare architectural geometry of Hopper’s developing style as though he was channeling the spirits of (The Bridge of Europe, Saint-Lazare Station), 1877. dead Impressionists. Sadly, the very “European” nature of the subject matter and its handling Oil on canvas, 64 x 80 cm. ran contrary to the gritty realism happening back in the United States. Musée Marmottan, Paris. 31 By 1907 he was having a grand time, as letters from the widow Jammes revealed to Hopper’s parents.