爱德华·霍普简介

爱德华·霍珀(Edward Hopper)

艺术家: 爱德华·霍珀

生于: 1882年7月22日；恩亚克，纽约，美国

卒于: 1967年5月15日；纽约市，美国

国籍: 美国

流派: 新现实主义（美国现实主义）

领域: 绘画

受影响: Robert Henri,William Merritt Chase,爱德华·马奈,埃德加·德加,施尔德·哈森,Impressionism

影响: 威廉·德·库宁,Mark Rothko,吉姆·狄恩,George Segal,Banksy,Edward Ruscha

老师: Robert Henri,William Merritt Chase

朋友: George Bellows,罗克韦尔·肯特

机构: 帕森斯设计学院（蔡斯学校，纽约艺术学院），纽约，NY，美国

没有其他艺术家能像爱德华·霍普一样捕捉到现代城市的孤独。“空地艺术家”提供了一个在大萧条时期美国人生活的提醒。他的暗示性意象与田纳西·威廉姆斯、西奥多·德莱塞、罗伯特·弗罗斯特、杰罗姆·塞林格的书以及乔治·德·奇里科和保罗·德尔沃的画作分享了个人孤独的心情。霍珀非常巧妙地描绘了时代的精神，以人物的姿态，在他们周围广阔的空旷空间中，也以他独特的调色板表现出来。

爱德华·霍珀出生于纽约州尼亚克市的一个中产阶级家庭，那里是当时充满活力的交通和工业中心。10岁的时候，男孩开始认真地对待自己的艺术抱负，当他开始签署和约会他的画时。霍珀和39岁的父母鼓励他学习商业插图而不是美术。因此，他花了一年在纽约画廊学院，然后转移到更认真的纽约艺术学院（现在的帕森斯设计学院）来实现他的梦想。他的老师包括美国印象派画家威廉·梅里特·蔡斯（创办了这所学校）和阿什干派画家罗伯特·亨利（Robert Henri）。霍珀在学校的同学包括乔治·贝洛斯和洛克韦尔·肯特。

1905年，霍珀开始在纽约一家广告公司做插画工作。他从来没有真正喜欢描绘和渴望自由的绘画从他的想象力。不幸的是，成功来得很慢，他被迫以插画家的身份生活了将近20年，直到他的绘画生涯开始起步。

Hopper在1906年至1910年间三次去欧洲，在巴黎享受了两次延长的停留。在那里，他创造了美丽的无人居住的风景，剥夺了旅游景点和景点，包括(1906)、(1909)、(1906)、(1909)。印象派画家的影响使他走上街头，画出“i”和“en plein air”或“i”，正如霍珀所描述的，“从事实出发”。他特别被“多纳德·马奈”和“埃德加·德加·德加·德加”在他们描绘现代城市时不同寻常的构图安排所吸引。生活。1910年，霍珀最后一次出国旅行回来，他永久地搬到了纽约市，1913年，他定居在一所房子里，那将是他余生的家和工作室。同年，他在纽约军械库展出了他的第一幅画《

Artist :Edward Hopper

Additional Name :Edward Hopper

Born : Nyack, New York, United States

Died : New York City, United States

Nationality :American

Art Movement :New Realism (American Realism)

Influenced by :robert-henri,william-merritt-chase,edouard-manet,edgar-degas,childe-hassam,artists-by-art-movement/impressionism

Influenced on :willem-de-kooning,mark-rothko,jim-dine,george-segal,banksy,edward-ruscha

Teachers :robert-henri,william-merritt-chase

Friends and Co-workers :george-bellows,rockwell-kent

Art institution :Parsons School of Design (Chase School, New York School of Art), New York City, NY, US

No other artist managed to capture the solitude within the modern city like Edward Hopper. The ‘artist of empty spaces’ offers a remindful look at life of Americans during Great Depression. His suggestive imagery shares the mood of individual’s isolation with books of Tennessee Williams, Theodore Dreiser, Robert Frost, Jerome Salinger, as well as with canvasses of Giorgio De Chirico and Paul Delvaux. Hopper depicted the spirit of the time very subtly, showing it in the poses of characters, in the vast empty spaces around them, and also in his unique color palette.

Edward Hopper was born into a middle class family in Nyack, NY, a vibrant hub of transport and industry at the time. The boy was already serious about his artistic ambitions in the age of 10, when he started to sign and date his drawings. Hopper's parents encouraged him to study commercial illustration instead of fine art. Accordingly, he spent a year at the New York School of Illustration before transferring to the more serious New York School of Art (now Parsons School of Design) to realize his dream. His teachers there included the American Impressionist William Merritt Chase (who founded the school) and Robert Henri, a leading figure of the Ashcan school, whose proponents advocated depicting the grittier side of urban life. Hopper's classmates at the school included George Bellows and Rockwell Kent.

In 1905, Hopper began working as an illustrator for a New York City advertising agency.  He never really liked illustrating and longed for the freedom to paint from his imagination. Unfortunately, success was slow in coming and he was forced to earn his living as an illustrator for nearly 20 more years until his painting career took off.

Hopper travelled to Europe three times between 1906 and 1910, enjoying two extended stays in Paris. There he created beautiful uninhabited landscapes, deprived of tourist sights and attractions, including  (1906),  (1909),  (1906),  (1909). The influence of the Impressionists led him to the streets to draw and paint , or, as Hopper described it, ‘from the fact.’ He was especially attracted to Édouard Manet and Edgar Degas's unusual compositional arrangements in their depictions of modern urban life.

After returning from his final trip abroad in 1910, Hopper moved permanently to New York City and, in 1913, settled in a house that would be his home and studio for the rest of his life. That same year he sold his first painting,  (1911), for $250 at the Armory show in New York. Though he never stopped painting, it would be 11 years before he sold another artwork. In 1915, he took up printmaking, producing some 70 etchings and dry points over the next decade. Like the paintings for which he would later become renowned, Hopper's etchings embody a sense alienation and melancholy. One of his better known etchings,  (1921) features the birds'-eye viewpoint, the dramatic use of light and shadow, and the air of mystery which would serve as inspiration for many film noir movies of the 1940s. Hopper continued to receive great acclaim for his etchings over the years and considered them an essential part of his artistic development.

In 1924, at age of 41, Hopper married Josephine (Jo) Nivison, whom he had met years earlier as an art student of Robert Henri. From that time on she became his primary model and most ardent supporter. In that same year he had a solo exhibition of watercolors at the Frank K. M. Rehn Gallery in New York. The show sold out and the Rehn Gallery continued to represent him for the rest of his life. This success enabled Hopper to finally give up illustrating. Over the next several years, Hopper's painting style matured and his signature iconography emerged - from isolated figures in public or private interiors, to sun-soaked architecture, silent streets, and coastal scenes with lighthouses. In 1930,  (1925) became the first painting accessioned to the permanent collection of the newly founded Museum of Modern Art. The early 1930s were, indeed, a period of great success for Hopper, with sales to major museums and in 1933, a retrospective at the Museum of Modern Art.

Despite his commercial success, Hopper and Jo lived a frugal lifestyle, only allowing themselves the indulgence of attending theater and films. Hopper particularly loved going to movies - his first documented visit to one was in Paris in 1909. Hopper continued to be productive during the war years – at that time he worked on his most well known painting,  (1942). Through the 1950s and early 1960s, Hopper continued to see acclaim and success, despite the arrival of Abstract Expressionism, Pop Art, and Minimalism to the New York art scene. The universal appeal of his subjects continued to find an avid audience.

Hopper was not a prolific painter. He often found it hard to settle on a subject to paint and then spent a great deal of time working out the details of the composition through numerous studies. By the end of his life he averaged just two oils a year. Hopper has inspired countless painters, photographers, filmmakers, set designers, dancers, writers, and musicians and the term 'hopperesque' is now widely used to connote images reminiscent of Hopper's moods and subjects. In the visual arts, Hopper's influence has touched artists in a range of media including Mark Rothko, George Segal, Banksy, Ed Ruscha, and Tony Oursler. He also inspired a whole school of photographers including Robert Adams, Diane Arbus, Harry Callahan, William Eggleston, Walker Evans, Robert Frank, Lee Friedlander, and Stephen Shore. Hopper has had no less of an impact on cinema. Generations of filmmakers have drawn inspiration from Hopper's dramatic viewpoints, lighting, and overall moods, among them, Sam Mendes, David Lynch, Robert Siodmak, Orson Welles, Wim Wenders, and Billy Wilder. His painting, (1925) inspired Alfred Hitchcock's house in  (1960) as well as that in Terrence Malick's  (1978).

Hopper's open-ended narratives have also appealed to writers and musicians. Tom Waits titled an album  and Madonna named a concert tour after the painting  (1941). Joyce Carol Oates refers directly to Hopper in her poem, . Many others have created whole collections of stories or poems using Hopper paintings as starting points.