Published by D.A.P./Réunion des Musées Nationaux - Grand Palais Edited and with text by Tomàs Llorens, Didier Ottinger.
Edward Hopper is as quintessentially American as Jackson Pollock or Andy Warhol. Like them, his imagery has reached far beyond the realm of art to impact on our culture in the broadest terms, so that we see early twentieth-century America through his work, as much as within it. The painter Charles Burchfield attributed Hopper’s success to his “bold individualism,” declaring that “in him we have regained that sturdy American independence which Thomas Eakins gave us.” Hopper’s art was profoundly of its time, both in its expression of the subtle melancholies of modern life and in its deeply cinematic qualities--perhaps Hopper’s greatest gift was his treatment of light--to which directors from Alfred Hitchcock to Wim Wenders have paid homage. This volume presents a definitive Hopper monograph. Published for a massive retrospective at the Museo Thyssen-Bornemisza in Madrid, and the Grand Palais in Paris, it approaches Hopper’s relatively small oeuvre in two sections. The first covers the artist’s formative years from approximately 1900 to 1924, examining a selection of sketches, paintings, drawings, illustrations, prints and watercolors, which are considered alongside works by painters that influenced Hopper, such as Winslow Homer, Robert Henri, John Sloan, Edgar Degas and Walter Sickert. The second section considers the years from 1925 onwards, addressing his mature output through chronological but thematic groupings. Comprehensive in its scope, with a wealth of color reproductions, Hopper is the last word on the artist.
Featured image is reproduced from Hopper.
PRAISE AND REVIEWS
Choice
W.L. Whitwell
Ottinger considers sketches, paintings, drawings, illustrations, prints, and watercolors; all are superbly reproduced. Hopper's subject matter is considered in depth, including many interpretations by positive and negative critics... The volume's eight articles represent very perceptive writings about Hopper by various contributors.
Featured image, Edward Hopper's "Girl at Sewing Machine" (1921), is reproduced from
D.A.P.'s definitive new monograph on the artist, co-published with Réunion des Musées Nationaux - Grand Palais, where Hopper's monumental and critically-acclaimed retrospective will be on view through January 28. Beautifully produced and substantial, this deluxe, scholarly volume is a must-have for any serious art library, as well as one of this year's most sought-after coffee-table books. Edward Hopper is at the top of our newly-minted Holiday Gift Guide, which features 50 books on art, architecture, design and photography that make exquisite gifts for just about anyone on your shopping list. continue to blog
In today's New York Times, staff critics select artworks from nearby museum collections that capture light, refer to it, or generate it, and can 'spark interest and brighten eyes' during the darkest days of winter. Ken Johnson chose Edward Hopper's 1951 painting, "Rooms by the Sea," reproduced here from D.A.P.'s stunning survey, Edward Hopper. Johnson writes, "The light in many of Hopper's paintings appears overdetermined, as much psychological as natural. In "Rooms by the Sea" (1951), one of his strangest paintings, it is especially urgent and borderline surrealistic… Like the proximity of the water, something is alarming about how the light penetrates the room. You might imagine yourself seeing through the eyes of someone in a state of crisis, caught between the ordinariness of the sitting room to the left and the yawning, implacably inhuman space to the right, from which comes a frightening inrush of glaring, transpersonal energy. If that seems an overly dramatic reading, consider this: Hopper’s record book from the time refers to the painting as 'Rooms by the Sea. Alias the Jumping Off Place.' He was advised that the second title had 'malignant overtones.'" continue to blog
FROM THE BOOK
"…The fact that Hopper has continued to be appreciated for such a long time without his reputation diminishing in any way is an indication of the intrinsic grandeur of this artist. However, his isolation, which was a consequence of the fact that he so tenaciously resisted the erosion of history, is a sign that (as with great, solitary rocks) his work was made of a different substance to that of his surroundings. It is possible that art historians of the future, basing themselves, perhaps, on certain incompletely expressed intuitions hinted at by art historians of today, may be able to encounter other interpretations that come closer to that substance and thus embed themselves more firmly in the rock, with the result that it becomes less strange and abrupt in form and better integrated into the landscape of 20th-century art. It will, however, almost undoubtedly be a very different landscape to the one that we see now."
- Tomás Llorens, excerpted from the chapter "Edward Hopper's Critical Fortunes," reproduced in Hopper.
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FORMAT: Hbk, 9.75 x 11.5 in. / 368 pgs / 345 color. LIST PRICE: U.S. $65.00 LIST PRICE: CANADA $87 ISBN: 9781935202875 PUBLISHER: D.A.P./Réunion des Musées Nationaux - Grand Palais AVAILABLE: 9/30/2012 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: WRLD Export via T&H
Published by D.A.P./Réunion des Musées Nationaux - Grand Palais. Edited and with text by Tomàs Llorens, Didier Ottinger.
Edward Hopper is as quintessentially American as Jackson Pollock or Andy Warhol. Like them, his imagery has reached far beyond the realm of art to impact on our culture in the broadest terms, so that we see early twentieth-century America through his work, as much as within it. The painter Charles Burchfield attributed Hopper’s success to his “bold individualism,” declaring that “in him we have regained that sturdy American independence which Thomas Eakins gave us.” Hopper’s art was profoundly of its time, both in its expression of the subtle melancholies of modern life and in its deeply cinematic qualities--perhaps Hopper’s greatest gift was his treatment of light--to which directors from Alfred Hitchcock to Wim Wenders have paid homage. This volume presents a definitive Hopper monograph. Published for a massive retrospective at the Museo Thyssen-Bornemisza in Madrid, and the Grand Palais in Paris, it approaches Hopper’s relatively small oeuvre in two sections. The first covers the artist’s formative years from approximately 1900 to 1924, examining a selection of sketches, paintings, drawings, illustrations, prints and watercolors, which are considered alongside works by painters that influenced Hopper, such as Winslow Homer, Robert Henri, John Sloan, Edgar Degas and Walter Sickert. The second section considers the years from 1925 onwards, addressing his mature output through chronological but thematic groupings. Comprehensive in its scope, with a wealth of color reproductions, Hopper is the last word on the artist.
