In 1910 he returned to the United States, and thereafter never left. He was a tall, shy, awkward young man, whose first romantic encounters were overwrought and frustrating. Naturally conservative, while in the French capital he avoided the avant-garde. In his early 20s Hopper made three trips to Paris, where he pursued his studies in literature, language, architecture and art. I was forced into it by an effort to make some money, that’s all.’ ‘Well, illustration really didn’t interest me. Having enrolled at the New York School of Art and Design, he subsequently took up a career in commercial illustration, a job he detested. He grew up in an affluent, intellectual Baptist household, and from an early age he was encouraged to draw by his mother. Hopper was born in 1882 in Nyack, New York, the son of a dry-goods merchant. What he once was, he always is, with slight modifications.' 'In every artist’s development, the germ for the later work is always found in the earlier. He created a brooding world of alienation and ennui, and distilled a truth about the modern urban experience: that we can be living and working in a vibrant, bustling city, surrounded by entertainment, community and opportunity – and yet still feel terribly empty and alone. Hopper painted beguiling pictures of ordinary folk and everyday lives - individuals lost in thought groups of people, each isolated and remote private dramas played out in public places. (‘ Hopper: An American Love Story’ (2022) by Phil Grabsky) I recently watched an insightful documentary about the artist Edward Hopper. 'All I ever wanted to do was to paint sunlight on the side of a house.’
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