Edward Hopper was an American realist painter and printmaker. He is one of America's most renowned artists and known for his skill in capturing American life and landscapes through his art.
Josephine "Jo" Verstille Hopper was an American painter who studied under Robert Henri and Kenneth Hayes Miller, and won the Huntington Hartford Foundation fellowship. She was the wife of Edward Hopper, whom she married in 1924.
Synchromism was an art movement founded in 1912 by American artists Stanton Macdonald-Wright (1890–1973) and Morgan Russell (1886–1953). Their abstract "synchromies," based on an approach to painting that analogized color to music, were among the first abstract paintings in American art. Though it was short-lived and did not attract many adherents, Synchromism became the first American avant-garde art movement to receive international attention. One of the difficulties inherent in describing Synchromism as a coherent style is connected to the fact that some Synchromist works are purely abstract while others include representational imagery.
Nighthawks is a 1942 oil-on-canvas painting by the American artist Edward Hopper that portrays four people in a downtown diner late at night as viewed through the diner's large glass window. The light coming from the diner illuminates a darkened and deserted urban streetscape.
Metaphysical painting or metaphysical art was a style of painting developed by the Italian artists Giorgio de Chirico and Carlo Carrà. The movement began in 1910 with de Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a vaguely threatening, mysterious quality, "painting that which cannot be seen". De Chirico, his younger brother Alberto Savinio, and Carrà formally established the school and its principles in 1917.
Portraits at the Stock Exchange is a painting by the French artist Edgar Degas. Completed in about 1879, the painting was already in the collection of the French banker Ernest May when it was listed in the catalogue of the fourth Impressionist exhibition that year. It may also have been shown in the next Impressionist exhibit in 1880, but it was not well known until it entered the collections of the Louvre in 1923. The canvas shows an interior corner of the open trading floor of the Paris Stock Exchange. May stands in the center of the picture wearing a top hat and pince-nez, listening to his colleague, a certain M. Bolâtre, leaning over his shoulder. They are likely discussing a document, possibly a bordereau, held aloft by a partially obscured third party.
The Death of Sardanapalus is an oil painting on canvas by the French artist Eugène Delacroix, dated 1827. It is now in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.
Linda Nochlin was an American art historian, Lila Acheson Wallace Professor Emerita of Modern Art at New York University Institute of Fine Arts, and writer. As a prominent feminist art historian, she became well known for her pioneering 1971 article "Why Have There Been No Great Women Artists?" published by ARTnews.
Chop Suey (1929) is an oil painting on canvas by the American artist Edward Hopper. The foreground of the work portrays two women in conversation at a restaurant. In November 2018, it was sold at $92 million, a record price for the artist's work.
Automat is a 1927 oil painting by the American realist painter Edward Hopper. The painting was first displayed on Valentine's Day 1927 at the opening of Hopper's second solo show, at the Rehn Galleries in New York City. By April it had been sold for $1,200. The painting is today owned by the Des Moines Art Center, in Iowa.
20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
Office at Night is a 1940 oil-on-canvas painting by the American realist painter Edward Hopper. It is owned by the Walker Art Center in Minneapolis, Minnesota, which purchased it in 1948.
Hotel Lobby is a 1943 oil painting on canvas by American realist painter Edward Hopper; it is held in the collection of the Indianapolis Museum of Art (IMA), in Indianapolis, Indiana, United States.
Feminist art criticism emerged in the 1970s from the wider feminist movement as the critical examination of both visual representations of women in art and art produced by women. It continues to be a major field of art criticism.
Gail Levin is an American art historian, biographer, artist, and a Distinguished Professor of Art History, American Studies, Women's Studies, and Liberal Studies at Baruch College and the Graduate Center of the City University of New York. She is a specialist in the work of Edward Hopper, feminist art, abstract expressionism, Eastern European Jewish influences on modernist art and American modernist art. Levin served as the first curator of the Hopper Collection at the Whitney Museum of American Art.
The Snake Charmer is an oil-on-canvas Orientalist painting by French artist Jean-Léon Gérôme produced around 1879. After it was used on the cover of Edward Said's book Orientalism in 1978, the work "attained a level of notoriety matched by few Orientalist paintings," as it became a lightning-rod for criticism of Orientalism in general and Orientalist painting in particular, although Said himself does not mention the painting in his book. It is in the collection of the Sterling and Francine Clark Art Institute, which also owns another controversial Gérôme painting, The Slave Market.
Black Iris, formerly called Black Iris III, is a 1926 oil painting by Georgia O'Keeffe. Art historian Linda Nochlin interpreted Black Iris as a morphological metaphor for female genitalia. O'Keeffe rejected such interpretations in a 1939 text accompanying an exhibition of her work, in which she wrote: "Well—I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower—and I don't." She attempted to do away with sexualized readings of her work by adding a lot of detail.
New York Movie is an oil on canvas painting by American painter Edward Hopper. The painting was begun in December 1938 and finished in January of 1939. Measuring 32 1/4 x 40 1/8", New York Movie depicts a nearly empty movie theater occupied with a few scattered moviegoers and a pensive usherette lost in her thoughts. Praised for its brilliant portrayal of multiple light sources, New York Movie is one of Hopper's well-regarded works. Despite the fact that the movie in the painting itself is not known, Hopper's wife and fellow painter Josephine Hopper wrote in her notes on New York Movie that the image represents fragments of snow-covered mountains.
Sun in an Empty Room is a 1963 painting by American realist Edward Hopper (1882–1967). It is a late period painting completed at his Cape Cod summer home and studio in South Truro, Massachusetts, just four years before his death at age 84. The work depicts a room, seemingly empty, except for light coming through a window, reflecting along the walls and floor. Leaves on a tree or bush can be seen just outside the window.
Intermission is a 1963 painting by American realist Edward Hopper (1882–1967). It is a late period painting completed between March and April at his New York home and studio in Washington Square Park, in the Greenwich Village neighborhood of Lower Manhattan, New York City, four years before his death at age 84. The work depicts a woman in a theater wearing a blue and black dress and black shoes, sitting by herself in a green aisle seat near a blue wall. It is one of the largest paintings ever completed by Hopper, and is his penultimate theater-themed work, followed by Two Comedians (1966), his last painting. It was acquired by the San Francisco Museum of Modern Art in 2012.
