4 comments about Silent Theater: The Art of Edward Hopper.

1. The author, Walter Wells brings this art and this artist (Edward Hopper) into an almost molecular intimacy. People who like Hopper (usually fiercly) are commonly aware that Hopper was more or less an unfriendly cuss...but his stark, dark, flat,impoverished, humorless, and altogether fascinating works prevail upon us... so we need to know more. Here it is, in (250 plus)very large pages! The most popular of Hopper's paintings have kept many of us more than curious, willing to seek and hang his abundantly available prints, because his subjects and style create mystery, tension, the wonderment of a story...untold. (Hence the title "Silent Theatre") World renown and celebrated works, "Railroad Sunset", "Early Sunday Morning" and "Nighthawks"--or "High Noon". are all inside; discussed, compared, associated and dissected. The book begins with with a charming introduction concerned with Hopper's childhood and youth; his affinity for theatre and literature. From there,the author takes us into a grand array of about 175 paintings, and many etchings, (and relate works by other artists), divided into 15 genres of Hopper's craft and psyche. It is this organization that brings us into what I think is a masterful, beautifully written, account of the Man... his loves, his life, his work -- early, middle and late. How do I say it? --The book "stays after" Hopper, and gets into each painting in granular detail. ( I won't finish it for weeks, or...months. It is vast and thorough...and one can open it anywhere and spend an enjoyable few minutes..or an hour!



2. As a long-time admirer of the paintings of Edward Hopper, I was delighted to discover Walter Wells' new book, Silent Theater (Phaedon), a large-format compendium of Hopper's work with a wealth of large color illustrations of the major works and detailed textual commentary that is both scholarly and readable, that is informative, stylistically graceful, and blessedly free both of academic and postmodern jargon. The size of the book places it in what ordinarily goes by the name "coffee table" book, but this is far more than what that rubric, or other such volumes, suggests. Professor Wells' comprehensive and detailed text interprets (often quite originally) and in detail the major works and places the discussion of Hopper's art in the broad contexts of modernism and urban society and culture in the early half of the twentieth century as well as the psychological (e.g., Jung and Freud) and literary forces that influenced Hopper and provided the intellectual and artistic arenas in which he worked. The title suggests both the silence which is so much a part of his work--aloneness, loneliness, and alienation--and the narrative quality of his work which engages the viewer in an active role of reading meaning into the images, whose implications so often go beyond the edge of the canvas. This is a splendid work (at a reasonable price) and a welcome addition to the work that has been done on Hopper, one of America's most original and engaging artists.



3. This book studies the art of Edward Hopper through its various influences: the influence of literature and the influence of the artist's mood and psyche, at the different periods of his life. Beyond the mere statement that his was an art of silence, the author manages to dig deeper and shows us how nothing in Hopper's works, whether paintings or etchings, was left to chance. The many top-quality illustrations add to the overall value of this book which is, in my opinion, one of the best available on the artist (along with the catalogue for the 2007 retrospective which also is a must-have).



4. This book presents misinformation that will confuse anyone seriously interested in the subject. Much of what it offers is not new and has appeared elsewhere previously. The reproductions are the book's best feature.

1 comments about The Poetry of Solitude: A Tribute To Edward Hopper.

1. I am neither a poet, nor a visual artist, so I will provide for you the layman's review: I find this book to be a charming text, based on a very good idea (ask writers to create poetry inspired by the Hopper paintings reproduced herein). Like all books of poetry, I'm quite sure that - like me - you will find that some of the poetry speaks to you, and some of it does not, but you will find all of it to be of a very high quality. Likewise, one of the aspects I enjoy most about this book is the quality of the reproductions, which, perhaps because of the book's rather small physical size, shows off the richness and clarity of Hopper's work better than most other books that present his oils. I have given this book as a gift twice now, and the recipients have been very impressed...

4 comments about Edward Hopper.

1. Most comprehensive single volume regarding Hopper and his work, that I am aware of, and the reprints of the work are accurate and true to the originals. A significant book about a significant painter.



2. I came across Hopper's paintings, when I was doing reproductions of famous artists as my partial work in high school. They immediately caught my attention and excitement, as they had an odd quality, which no other painters had in their work. Vast spaces, empty streets, newly-woke-up ladies in old-fashion motel rooms, extreme light conditions that contradicted the monotonousness in some way... These are some of the major images one is apt to see in Hopper's works.

   Hopper's paintings seem to depict the 20s-40s of America, in the context of local towns, cafes, old rooms, within the frame of realism. He's usually painted his figures in an alignment, that does not let us see their faces nor fronts. Instead, the sun has the right to see them, which casts bright light rays into dark rooms.

   I think that Hopper seems to be content with the way of living in America, and how people of it carry on their lives. The paintings may indicate some not-so-happy situations, but they do not depict depression. Therefore, I think that Hopper is the best representative of American culture in the early twentieth century in that sense.

   I haven't purchased the book yet; but had a chance to look at it in the school's library. The book contains many of his paintings, and Goodrich's comments show some level of apprehension and knowledge of Hopper's work. It is concise and comprehensive, and I recommend it to everybody. Hopper is certainly one of the most affective artists of the twentieth century and all times.




3. The long format of this book allows for good reproduction of many of Hopper's landscapes. I have several Hopper books, but this one is by far the most comprehensive and most beautifully printed. This is a wonderful gift for anyone who loves Hopper's work, or for your own art library.



4. Edward Hopper is best known for his urban, moody paintings. He painted traditional rural landscapes, and seaside scenes along the New Englad coast, too. What he captured best, though, was urban life in the 1940s.
   
   He seems to have caught it all, the bridges, trains, opera, and tenements, at every hour of day and night. And very often he captured someone, often a woman, in a moment of solitude. These scenes border on voyeurism, the unguarded moments when his subjects might be dressed, or partly, or not - with no one to dress for, it hardly matters. There is nothing erotic in these nudes and semi-nudes. In fact, I quite like the unposed, unpoised relaxation of the moment. Hopper is quite capable of showing a female figure as strong and desirable, as in "Office at Night" or "Summer Evening" I sympathize more with the figures who have no one to pose for; they seem more honest somehow.
   
   People say that many of his paintings are about loneliness, and that may be true. I think more of them are about solitude, or separation, or the invisible walls that people erect to keep themselves sane in the urban crush. In "Two on the Aisle," as in so many paintings of two or more people, the two parties seem barely aware of each other. Even within the couple, they scarcely look at each other, as if long familiarity means there's nothing new to see.
   
   Of 246 paintings reproduced here, only 88 are in color. They are well printed, and capture Hopper's generally subdued palette. They are just enough to make me greedy, though, and to wish I could see more in the colors that Hopper gave them. There's a lot of work here, including a number of etchings, from Hopper's earlier ouvre as well. I don't mean to neglect those works, but his 40s and 50s pieces have an incredible power over me.
   
   The commentary occupies about half the book, and gives real insight into Hopper's life. I have to admit, I skimmed the words, only dipping into them occasionally. That just gives me more reason (as if I needed reason) to come back again. And again and again.
   
   This book really is beautiful. If more of it were in color, it would have the highest praise I know how to give.
   
   //wiredweird.

3 comments about Edward Hopper: Painter of Light and Shadow.

1. Susan Goldman Rubin's EDWARD HOPPER: PAINTER OF LIGHT AND SHADOW provides kids with insights into artist Hopper's life and achievements, tracing his success as a painter and following the evolution of his career and life. Kids with good reading skills and an appreciation for art will welcome the detailed survey of his life and finest paintings, while teachers will relish a picturebook biography which includes many examples of his works.



2. When an art discussion turns to great American artists, Edward Hopper's name is one that invariably comes up. One of the most influential American artists, his personal story is interesting and inspiring. His story is one that should be shared with any young aspiring artist, and Rubin's book is a great introduction to the story and work of Edward Hopper.
   
   Edward Hopper showed his potential and talent at a very young age. He set the goal of becoming an artist when he was just a boy, and his mother encouraged his art projects and gave him art supplies and how to books. The book gives a concise history of Edward Hopper's early life, including his first drawings and early wanderings that inspired much of his work-and continues through his teenage and then grown-up life.
   
   Edward Hopper struggled to garner the attention and respect of the art world. He worked by doing advertisements and illustrations for corporate ad campaigns while continuing to paint what he loved to paint. The story of Edward Hopper is a story of determination, hard work, and success. It is an inspiration to anyone looking to be a success at their chosen task.
   
   This book takes this information and puts it in a highly readable and visually engaging story that can be easily read by young budding artists. It intersperses beautiful examples of Hopper's work throughout the story that can serve as a good read or an informative piece of research.
   
   A book that balances readability, education, and beautiful visuals, Edward Hopper: Painter of Light and Shadow, is a great addition to any art lover's book collection, especially the beginning collection of a young art lover.
   
   Armchair Interviews says: This would be a wonderful gift book.



3. Rubin, Susan Goldman, Edward Hopper: Painter of Light and Shadow, Abrams Books for Young Readers, 2007
   
   This clearly written biography is very informative, and the presentation is very appealing. It describes Hopper's eagerness to draw "even as a tiny lad", an activity encouraged by his mother who gave him various art supplies and introduced him to fine art and notes his pleasure in reading about American History, an interest fostered by his father. He drew pictures of animals, boats, and soldiers, and early on began to sign his creations. When he finished High School, he knew he wanted to be an artist but his concerned parents urged him to attend art school where he could learn how to be a commercial artist; in fact this skill often generated his only source of income when his own artwork did not sell. He traveled abroad but also spent time in New York and the more rural Gloucester, Massachusetts. The nice reproductions of paintings both by him and others reveal his interest in different art styles and mediums. He married late another artist, and together they painted; however, it was his art that became famous and sold even during the Great Depression. End pages include an author's note, further information about his wife and friends who were artists, references and extensive picture credits and source notes and even a list of museums that exhibit Edward Hopper's work. Children will have the opportunity to learn about some of the ordinary as well as extraordinary events of his life, and view some of his work in a very appealing package. The design of the book is artistic: the hued pages frame large font and profile nicely the various reproductions. Children, 4th grade and up, who want to learn about an American artist will find this book enjoyable and easy to read.

3 comments about The Reading Woman: A Journal.

1. This is a beautiful journal for women who love books and reading. This lovely volume is organized for the books you've read, books you want to read, books you've loaned out, and more. What sets this jewel apart from other book journals are the lovely prints of paintings depicting women in various situations, simply enjoying reading. No cooking, caring for children, cleaning, teaching, nursing, etc. Just reading for pleasure. The journal also includes wonderful quotes about reading and books. Beautifully done.



2. I picked up "The Reading Woman" in a museum gift shop and have loved owning it. I use it as a journal of the books I've read in the past and what I'm currently reading. It's amazing how quickly you forget a books you've read, so I enjoy writing my thoughts right after I finish one. The illustrations are lovely, some of them paintings from other centuries. Women have made time for reading FOREVER. Now that I've filled this journal completely, does anyone know of a similar one I can start?



3. "This exquisite volume, illustrated with beautiful full-color reproductions of paintings of women reading, provides compelling inspiration for recording one's private thoughts. Works by Mary Cassatt, Pierre-Auguste Renoir, Edouard Manet, Edward Hopper, James McNeill Whistler, and Winslow Homer, as well as contemporary selections, are included. Quotes from well-known female writers on the subjects of literature and reading appear throughout.
   
   "Pomegranate's illustrated journals lend inspiration to thinkers, observers, and diarists. Hardcover, with a contrasting ribbon marker, each journal features 26 full-color illustrations and a wealth of insightful quotes. At only $17.95 it will appeal to the writer in everyone. 120 lined pages. ISBN: 0-87654-816-8; size: 5 1/2 x 8 1/2"."--© Pomegranate

5 comments about Edward Hopper: An Intimate Biography.

1. Gail Levin, the curator of Hopper's works at the Whitney Museum in New York City, had the exclusive privilege of Josephine (Mrs.) Hopper's journals that extend from the 1920s to the 1960s. Jo was an artist herself and her frustrations are paralled with Edward's successes. Maybe too much of the book is about poor Mrs. Hopper and her unsuportive Husband, but Levin crafts the history so well that I didn't hold it against her. Each of the major oil paintings are covered from a making-of perspective which I found illuminating. I picked the book up originally just to glance through it, but I ultimately read the whole thing.



2. While the book was interesting it was also redundant of some of Ms. Levin's other works. Unfortunately, I believe she got at least one fact messed up, which, of course is curious, and, makes one wonder if anyone is doing any editing out there. At 45 bucks a pop, you'd think someone would be doing some fact checking. I believe I'm correct in pointing out that Christian Hopper was Edward Hopper's grandfather, not great-grandfather as she so states. His father was Garrett Henry Hopper. His father was Christian Hopper. Christian Hopper married Charity Blauvelt, and together they had Garrett Henry Hopper, who, together with Elizabeth Smith Hopper, had Edward Hopper. I thought some of the events like Jo's trying to get the car out of the garage were a riot, not to mention hearing about her cat, Arthur. Unfortunately, Arthur disappears about midway. Leaves you wondering if she named him after Chester A. Arthur, Arthur Godfrey, etc. He had an odd sense of humor, but he was Dutch and you know how they are. Not too abnormal, tho. Your typical stingy, grumpy man who hasn't a clue about women. Other than that, it was a good read.



3. Gail Levin's biography is a thorough review of Edward Hopper's life and work, spanning his early childhood, his struggles as an artist paying the bills by illustrating for magazines, his success, and his consistently remarkable artistic output. The surprise for me came from the revelation that his wife Jo, usually a marginal and minor figure, was a remarkable woman and an artist herself. Although one is tempted to wonder how her career would have gone if she hadn't married Hopper, Levin avoids sensationalistic speculation and, aside from occasional comments, sticks strictly to the facts.



4. Gail Levin's book -Edward Hopper: an Intimate Biography- is about the life of a famous artist, Edward Hopper, as well as that of an obscure artist, Josephine Hopper (the former Josephine Nivison). Mrs. Hopper's detailed diaries, kept up faithfully for decades, are a major source of information for Levin's book. Since this necessarily puts the perspective of the book heavily on Jo's side of the story, no one should consider this one-stop shopping for finding out what made Edward Hopper tick. The Hoppers were a two completely opposite personalities who both complemented and aggravated each other. What I most like about Levin's book is that probably no one else has ever been in Jo Hopper's corner before Levin. Jo usually comes off as the stereotypical shrewish wife who dominated her poor henpecked husband. What a different picture is presented in this book! Instead, their marriage was much more complex, and the love/hate dynamics never seem to have leveled off during the many years they were together. Their story defies my own stereotypcial notion that as people grow old, their emotions level off and they are like two old bookends. Not with these two! I also enjoyed finding out that Edward Hopper was a Bette Davis fan, that he liked Jo to wear her hair down, that Jo's idea of cooking was opening up cans, and that Hopper had to haul buckets of coal up from the basement to feed the coal stove that heated their studio/living quarters. Much of these intimate details are provided courtesy of Jo's diaries, which served as an outlet and a refuge from her stolid husband. Perhaps best of all is the theatricality and eroticism suggested by Jo's descriptions of how they worked together as she posed for many of his paintings. In one of Edward Hopper's last paintings, Two Comedians, he portrays two shy actors taking a little bow: a loving tribute to their long and histrionic collaboration together, in life and in art.



5. Do not be intimidated by this book's length. I am not an art buff, but have become interested in Hopper and plan to attend the upcoming exhibition of his work at the National Gallery of Art in DC this Fall.
   I approached this book with trepidation, but found myself drawn into it. I read it compulsively to the finish. There is tremendous detail presented in a simple austere style. It tries to make Hopper's life speak for itself. Thus, the book is a work of art about it's subject--a Hopper.
   My only caveat is that you must also have a separate copy of Hopper's works (or at least many of them) to consult. Surprisingly and I think mistakenly, the book does not include copes of the many of the paintings. However, if you are familiar with his work, this is no impediment.

3 comments about Hopper's Places, Second edition.

1. If you are a fan of Hopper's art, and/or if you like to paint yourself, you will love this book. Hopper's ability to take the ordinary and turn it into an exceptional painting is amazing, and this book shows you exactly (well, almost) what he saw when he painted his scenes. Gail Levin went through a lot of hard work to track down these places, and seeing them side by side with Hopper's paintings makes it well worth her effort. It's my favorite art book, turned to time and time again.



2. I loved this book! If the most important trait to have as an artist is to "see" like an artist, then this gives you insight into what one of America's greatest saw.
   
   Anybody who has picked up my copy of the book has been fascinated, even if they aren't painters themselves. The only reason I gave this 4 stars instead of 5, was the analysis of some of Hopper's subjects. It seemed, after reading what the author wrote about the paintings, that she spent too much time in academia and not enough time painting. She attributes more complex motives to some of Hopper's compositions than he intended, I think. For instance, I suspect that the only reason he painted the dead tree in front of Libby House was that he found it artistically interesting. I don't think he was trying to show "past decay" against the present, but who knows?
   
   In the end, I highly recommend this book for anyone who loves Hopper or the realist style.



3. There's a TWILIGHT ZONE episode titled, 'A KIND OF STOPWATCH' which starred Richard Erdman & was first broadcast in October of 1963. The story is about a man who is able to freeze time by suspending the progress of the second hand on an enchanted stopwatch. He instantaneously stops time in order to rob a bank and accidentally breaks the stopwatch in the process, leaving him stranded alone forever in a timeless, lifeless world. I saw the episode as a child and it immediately captivated me, and something about that imagery has haunted me ever since. EDWARD HOPPER is my favorite artist and there's a "timeless isolationism" - a Twilight Zoneish quality - to his oeuvre that I really resonate to. (Don't worry! I don't intend to psychoanalyze myself here. Although my parents DID disenroll me from kindergarten when, because of my withdrawn nature, my teacher described me as "antisocial." They employed the obvious solution to that malady, right?)
   
   HOPPER's works convey this intense internal aloneness by merely hinting at details in big spaces, depicting daytime shadows sparsely and yet placing almost everything in a serene (often golden) glow. His pictures rarely illustrate the sharp, mind-numbing dead of Winter or the harsh and draining dog days of Summer. Regardless of the time of year in which he worked, in Hopper's world it is perpetually Autumn. Dreamy. Quiet. Lonely. Sad. But how he captured that mood cannot be fully fathomed through mere observable techniques. It was Mr. Melancholy's inner vision that was his real "style", and this comes across so brilliantly in GAIL LEVIN's wonder-filled book, 'HOPPER'S PLACES.'
   
   Having served as curator of the Hopper Collection at the Whitney Museum, and having written & compiled 'EDWARD HOPPER: AN INTIMATE BIOGRAPHY' and 'A CATALOGUE RAISONNE' (as well as many other Hopper-related titles), Gail Levin is probably the foremost expert on the man and his work, and eminently qualified to be our tour guide as we go Hopper-hopping through 3 countries in search of his subjects. Levin's photographs duplicating the sights & angles that Hopper put on canvas really highlight the unique "eye" for scenes that, via his singular process of artistic alchemy, the painter was able to transform into the HOPPER ZONE.
   
   HOPPER'S PLACES records many of my favorites : EAST WIND OVER WEEHAWKEN (1934); SHAKESPEARE AT DUSK ('35); APPROACHING A CITY ('46); LIGHTHOUSE HILL ('27); ADAM'S HOUSE ('28); and the utterly fascinating, ROOMS FOR TOURISTS ('45). I can see how this bed & breakfast place depicted at night might elicit diametrically different responses from a variety of observers : "I ain't going in there; that's where Norman Bates lives!" or "God dwells there and He invites me to leave the darkness and come into the Light."
   
   Unfortunately, because Levin was unable to provide comparative photos for them, a few really choice Hoppers were excluded from this book. Notably, DRUG STORE (1927); EARLY SUNDAY MORNING ('30); SEVEN A.M. ('48); and Edward Hopper's ubiquitous masterpiece, NIGHTHAWKS (1942). Incidentally, this shopping mall poster gallery & post card favorite was the inspiration for the title of the TOM WAITS "live" studio album, 'NIGHTHAWKS AT THE DINER', which in turn was the inspiration for one of Amazon's best customer reviews - Kippy Lanker's April 6, 2002 review called, 'IN THE OLDEST BAR IN NEVADA...'
   
   Once upon a time, I had entertained the idea of a career in art (another fatality on my Boulevard Of Broken Dreams), but in discovering the work of Edward Hopper, I realized that my pictures had already been put on canvas, and better than I could have hoped to paint them. HOPPER'S PLACES is a "must own" book for any fan of the man's work, or for anyone who simply wants to SEE the definition of "art."
   
   "MAMAS DON'T LET YOUR BABIES GROW UP TO BE COWBOYS," Waylon & Willie sang in 1978, "BECAUSE THEY'LL NEVER STAY HOME AND THEY'RE ALWAYS ALONE, EVEN WITH SOMEONE THEY LOVE." But then of course, if your babies should happen to display an aptitude with pen & brush, you just might want to ship 'em off to art school.

1 comments about Edward Hopper's New York.

1. With an informed and informative text by New York resident, writer and art historian Avis Berman, Edward Hopper's New York showcases more than 50 color and b/w paintings, etchings and drawings focusing exclusively on famed artist's Edward Hopper's New York City inspired artwork. Many of the artworks have a paragraph of commentary exclusive to them, but the overall narrative tour continues from cover to cover. Realistic in its artistic style, with a slightly softer than life texture to the paintings that is just about the only thing that prevents one from mistaking them for photographs, Edward Hopper's New York is a unique tour of the city itself.

5 comments about Edward Hopper.

1. Plenty of catalogs and art histories have featured the works of Edward Hopper, but what makes EDWARD HOPPER different is this emphasis on his strengths from the 1920s-1940s, when he produced many of his greatest works. A focus on European influences, critical reactions to his productions, his themes and choices, and his special challenges makes for detailed insights on the personality and ambitions of Hopper, while full-page color illustrations - some 150 in all - provide visual emphasis. Perfect for art libraries and for public lending collections seeking even one definitive Hopper coverage.
   
   Diane C. Donovan
   California Bookwatch



2. Edward HopperThis book is a great presentation of the outstanding Hopper exhibit at the MFA/Boston. Well worth seeing.



3. One of the highlights of my summer was attending the Hopper exhibition at Boston's Museum of Fine Arts, for which this volume (published by the MFA) was the companion text. At 288 pages, mostly filled with suberb reproductions of Hopper's paintings and sketches, this volume is comprehensive enough for even the most devoted Hopper fan. Perhaps only Gail Levin's "Catalogue Raisonne" offers a more comprehensive look at the artist. No matter how many art books you may own, clear a spot on your shelf or coffee table for this one. You will not be disappointed.



4. The book was published on the occasion of the exhibition: "Edward Hopper", organised by the Museum of Fine Arts, Boston; the National Gallery of Art, Washington, DC; and the Art Institute of Chicago, 2007-2008. It comprises a series of nine essays by different writers, and concludes with Notes, a Chronology, a Checklist and Figure Illustrations and a Selected Bibliography.
   
   This is a handsome volume large in size and almost square in format, illustrated throughout predominately in colour. The informative essays, each dealing with a specific period or genre, discuss the artist, his work and his methods, are illustrated throughout, with the relevant works appearing on or close to the page on which there are discussed. The illustrations are excellent, virtually full colour throughout, the black and white images being mainly drawings or period photographs. Many of the paintings are reproduced half or full page size, with a few full page bleed images of a detail from selected paintings. The quality of reproduction is excellent, often revealing the brush work and surface texture, and the colour rich and vibrant. In total there are 202 illustrations of which 180 are in full colour, they represent works in oils, watercolours and prints. A very desirable publication.



5. Wonderfully presented book of a great artist. Personal and career information is contained in a nice format. Art is described in the context of the time and the artist - his influences, the influences of the time.

No comments about Life Science.