1995, ISBN: 9780394546643

[PU: New York: Alfred A. Knopf], XVII, 678 p.: Ill. Hardcover with dustjacket. Schutzumschlag mit Randläsuren, leicht beschädigt, leichte Knicke, Einband leicht bestoßen, Kopfschnitt ange… Mehr…

[PU: New York: Alfred A. Knopf], XVII, 678 p.: Ill. Hardcover with dustjacket. Schutzumschlag mit Randläsuren, leicht beschädigt, leichte Knicke, Einband leicht bestoßen, Kopfschnitt angegraut, Vorderschnitt unregelmäßig, Bleistiftanmerkung auf Vorsatz, sonst gut und innen sauber / dust jacket with edgewear, slightly damaged, light creases, binding lightly bumped, top edge grayed, fore-edge irregular, pencil annotation on endpapers, otherwise good and clean inside. - In the art of Edward Hopper (1882-1967), tense, unhappy men and women, in whom we recognize something of our neighbors and ourselves, play out mysterious dramas in silent, stripped-down spaces—stages raked by an unrelenting and revealing light. These paintings, and Hopper's equally evocative landscapes and houses, make us wonder: what kind of man had this haunting vision, and what kind of life engendered this art? No one is better qualified to answer these questions than the art historian Gail Levin, author of the major studies of Hopper’s work (including the catalogue raisonne) and curator of many exhibitions that explored his development and cultural context. Delving deeply into his art and into a rich archive of unpublished letters and diaries, she now constructs “An Intimate Biography,” which reveals the true nature and personality of the man himself—and of the woman who shared his life and helped to shape his art. Hopper came from a middle-class family in the Hudson River town of Nyack, New York. An early gift for drawing freed him from the maternal apron-strings to study art in New York City, and then to paint in Paris. There he conceived an abiding love for French culture, enjoyed a brush with romance, and recorded in paint his impressions of the City of Light. Alas, these paintings were not to the taste of the America to which he returned, and for many years the success won early by his art school contemporaries quite eluded Hopper. For nearly two decades he had to eke out a living as an illustrator for advertising and popular fiction—an occupation he detested. The turning point came when, already past forty, he married the artist Josephine Nivison (1883-1968), who gave a new impulse to his painting. For forty-three years, Jo and Edward lived out a love-hate relationship that was passionate, at times violent, and utterly symbiotic. Deeply divided by temperament—Jo was as vivacious, outgoing, and talkative as Edward was dour, repressed, and taciturn—and by his wounding contempt for her artistic ambitions, they nonetheless shared a deep love for French poetry and world literature, and for the plays and movies that came to resonate so powerfully in Hopper’s art. Edward’s career dominated the marriage; Jo’s needs—artistic, social, and sexual—were habitually frustrated. She adored and despised him, served as his model and inspiration, secretary and domestic. She resented his selfishness and arrogance, and empathized with his chronic depression. And she wrote it all down. Not only the storms of the kitchen, studio, and bedroom, but also every trip to the theater or cinema, every book they read together, and every step in the creation of many a famous painting was recorded by Jo in diaries that give this biography a unique vantage point. Jo’s writings cast an entirely new light on our understanding of Hopper 's creativity and the passions and conflicts from which it stemmed. Jo Hopper’s diaries permit an intimate look at the interactions of an indissolubly bonded couple, revealing for the first time the personal tensions that lie behind some of Hopper’s most haunting works. Gail Levin, sifting the gritty reality of Jo’s story with her own analytic skills and historical and literary knowledge, uses the diaries to great effect in linking specific paintings to the time, place, and mood in which they were created. Edward Hopper’s images have long since captured the American imagination. Through this provocative biography they take on a new dimension as Gail Levin reveals their roots in the artist’s personal struggle and in the inspiration he drew from literature, theater, film, and a turbulent private life. / CONTENTS Introduction: Truth and Pain The Roots of Conflict: 1882-1899 Defining the Talent: 1899-1906 Seductive Paris: 1906-1907 The Ambivalent American: 1907-1910 In Search of a Style: 1911-1915 The Detour through Etching: 1915-1918 The Deeper Hunger: 1918-1923 The Leading Lady First Success: 1923-1924 CONTENTS Getting Established: 1925-1927 On the Road to America: 1928-1929 Recognition: 1950-1955 First Retrospective and the Truro House: 1955-1955 An Intellectual Self-Portrait Consequences of Success: 1956-1958 The Struggle to Paint: 1959 The War Begins: 1940 Failed Odyssey: 1941 Nighthawks: 1942 Mexico: 1945 War on the Home Front: 1944 The Aesthetic Divide: 1945 Anxiety: 1946-1947 Illness and Loss: 1948 Melancholy Reflection: 1949 A Retrospective Year: 1950 Mexico Again: 1951 Planning Reality: 1952 Reality 1953 Taking Stock: 1954 Personal Vision: 1955 Time Cover Story: 1956 Toward Reconciliation: 1957-1958 Exkursion into Philosophy: 1959 Protest: 1960 Prints Again: 1961-1962 Last Rehearsal: 1963-1964 Final Curtain: 1963-196, DE, [SC: 5.00], gebraucht; gut, gewerbliches Angebot, [GW: 1193g], Banküberweisung, Offene Rechnung, PayPal, Internationaler Versand<

1995, ISBN: 0394546644

[EAN: 9780394546643], Gebraucht, sehr guter Zustand, [SC: 4.0], [PU: New York: Alfred A. Knopf], Jacket, XVII, 678 p.: Ill. Schutzumschlag mit Randläsuren, leicht beschädigt, leichte Knic… Mehr…

[EAN: 9780394546643], Gebraucht, sehr guter Zustand, [SC: 4.0], [PU: New York: Alfred A. Knopf], Jacket, XVII, 678 p.: Ill. Schutzumschlag mit Randläsuren, leicht beschädigt, leichte Knicke, Einband leicht bestoßen, Kopfschnitt angegraut, Vorderschnitt unregelmäßig, Bleistiftanmerkung auf Vorsatz, sonst gut und innen sauber / dust jacket with edgewear, slightly damaged, light creases, binding lightly bumped, top edge grayed, fore-edge irregular, pencil annotation on endpapers, otherwise good and clean inside. - In the art of Edward Hopper (1882-1967), tense, unhappy men and women, in whom we recognize something of our neighbors and ourselves, play out mysterious dramas in silent, stripped-down spaces—stages raked by an unrelenting and revealing light. These paintings, and Hopper's equally evocative landscapes and houses, make us wonder: what kind of man had this haunting vision, and what kind of life engendered this art? No one is better qualified to answer these questions than the art historian Gail Levin, author of the major studies of Hopper’s work (including the catalogue raisonne) and curator of many exhibitions that explored his development and cultural context. Delving deeply into his art and into a rich archive of unpublished letters and diaries, she now constructs "An Intimate Biography," which reveals the true nature and personality of the man himself—and of the woman who shared his life and helped to shape his art. Hopper came from a middle-class family in the Hudson River town of Nyack, New York. An early gift for drawing freed him from the maternal apron-strings to study art in New York City, and then to paint in Paris. There he conceived an abiding love for French culture, enjoyed a brush with romance, and recorded in paint his impressions of the City of Light. Alas, these paintings were not to the taste of the America to which he returned, and for many years the success won early by his art school contemporaries quite eluded Hopper. For nearly two decades he had to eke out a living as an illustrator for advertising and popular fiction—an occupation he detested. The turning point came when, already past forty, he married the artist Josephine Nivison (1883-1968), who gave a new impulse to his painting. For forty-three years, Jo and Edward lived out a love-hate relationship that was passionate, at times violent, and utterly symbiotic. Deeply divided by temperament—Jo was as vivacious, outgoing, and talkative as Edward was dour, repressed, and taciturn—and by his wounding contempt for her artistic ambitions, they nonetheless shared a deep love for French poetry and world literature, and for the plays and movies that came to resonate so powerfully in Hopper’s art. Edward’s career dominated the marriage; Jo’s needs—artistic, social, and sexual—were habitually frustrated. She adored and despised him, served as his model and inspiration, secretary and domestic. She resented his selfishness and arrogance, and empathized with his chronic depression. And she wrote it all down. Not only the storms of the kitchen, studio, and bedroom, but also every trip to the theater or cinema, every book they read together, and every step in the creation of many a famous painting was recorded by Jo in diaries that give this biography a unique vantage point. Jo’s writings cast an entirely new light on our understanding of Hopper 's creativity and the passions and conflicts from which it stemmed. Jo Hopper’s diaries permit an intimate look at the interactions of an indissolubly bonded couple, revealing for the first time the personal tensions that lie behind some of Hopper’s most haunting works. Gail Levin, sifting the gritty reality of Jo’s story with her own analytic skills and historical and literary knowledge, uses the diaries to great effect in linking specific paintings to the time, place, and mood in which they were created. Edward Hopper’s images have long since captured the American imagination. Through this provocative biography they take on a new dimension as Gail Levin reveals their roots in the artist’s personal struggle and in the inspiration he drew from literature, theater, film, and a turbulent private life. / CONTENTS Introduction: Truth and Pain The Roots of Conflict: 1882-1899 Defining the Talent: 1899-1906 Seductive Paris: 1906-1907 The Ambivalent American: 1907-1910 In Search of a Style: 1911-1915 The Detour through Etching: 1915-1918 The Deeper Hunger: 1918-1923 The Leading Lady First Success: 1923-1924 CONTENTS Getting Established: 1925-1927 On the Road to America: 1928-1929 Recognition: 1950-1955 First Retrospective and the Truro House: 1955-1955 An Intellectual Self-Portrait Consequences of Success: 1956-1958 The Struggle to Paint: 1959 The War Begins: 1940 Failed Odyssey: 1941 Nighthawks: 1942 Mexico: 1945 War on the Home Front: 1944 The Aesthetic Divide: 1945 Anxiety: 1946-1947 Illness and Loss: 1948 Melancholy Reflection: 1949 A Retrospective Year: 1950 Mexico Again: 1951 Planning Reality: 1952 Reality 1953 Taking Stock: 1954 Personal Vision: 1955 Time Cover Story: 1956 Toward Reconciliation: 1957-1958 Exkursion into Philosophy: 1959 Protest: 1960 Prints Again: 1961-1962 Last Rehearsal: 1963-1964 Final Curtain: 1963-1964 Bibliographical Notes Notes Acknowledgments Index. ISBN 9780394546643 Sprache: Englisch Gewicht in Gramm: 1193, Books<

1995, ISBN: 0394546644

[EAN: 9780394546643], Gebraucht, sehr guter Zustand, [PU: New York: Alfred A. Knopf], Jacket, XVII, 678 p.: Ill. Schutzumschlag mit Randläsuren, leicht beschädigt, leichte Knicke, Einband… Mehr…

[EAN: 9780394546643], Gebraucht, sehr guter Zustand, [PU: New York: Alfred A. Knopf], Jacket, XVII, 678 p.: Ill. Schutzumschlag mit Randläsuren, leicht beschädigt, leichte Knicke, Einband leicht bestoßen, Kopfschnitt angegraut, Vorderschnitt unregelmäßig, Bleistiftanmerkung auf Vorsatz, sonst gut und innen sauber / dust jacket with edgewear, slightly damaged, light creases, binding lightly bumped, top edge grayed, fore-edge irregular, pencil annotation on endpapers, otherwise good and clean inside. - In the art of Edward Hopper (1882-1967), tense, unhappy men and women, in whom we recognize something of our neighbors and ourselves, play out mysterious dramas in silent, stripped-down spaces—stages raked by an unrelenting and revealing light. These paintings, and Hopper's equally evocative landscapes and houses, make us wonder: what kind of man had this haunting vision, and what kind of life engendered this art? No one is better qualified to answer these questions than the art historian Gail Levin, author of the major studies of Hopper’s work (including the catalogue raisonne) and curator of many exhibitions that explored his development and cultural context. Delving deeply into his art and into a rich archive of unpublished letters and diaries, she now constructs "An Intimate Biography," which reveals the true nature and personality of the man himself—and of the woman who shared his life and helped to shape his art. Hopper came from a middle-class family in the Hudson River town of Nyack, New York. An early gift for drawing freed him from the maternal apron-strings to study art in New York City, and then to paint in Paris. There he conceived an abiding love for French culture, enjoyed a brush with romance, and recorded in paint his impressions of the City of Light. Alas, these paintings were not to the taste of the America to which he returned, and for many years the success won early by his art school contemporaries quite eluded Hopper. For nearly two decades he had to eke out a living as an illustrator for advertising and popular fiction—an occupation he detested. The turning point came when, already past forty, he married the artist Josephine Nivison (1883-1968), who gave a new impulse to his painting. For forty-three years, Jo and Edward lived out a love-hate relationship that was passionate, at times violent, and utterly symbiotic. Deeply divided by temperament—Jo was as vivacious, outgoing, and talkative as Edward was dour, repressed, and taciturn—and by his wounding contempt for her artistic ambitions, they nonetheless shared a deep love for French poetry and world literature, and for the plays and movies that came to resonate so powerfully in Hopper’s art. Edward’s career dominated the marriage; Jo’s needs—artistic, social, and sexual—were habitually frustrated. She adored and despised him, served as his model and inspiration, secretary and domestic. She resented his selfishness and arrogance, and empathized with his chronic depression. And she wrote it all down. Not only the storms of the kitchen, studio, and bedroom, but also every trip to the theater or cinema, every book they read together, and every step in the creation of many a famous painting was recorded by Jo in diaries that give this biography a unique vantage point. Jo’s writings cast an entirely new light on our understanding of Hopper 's creativity and the passions and conflicts from which it stemmed. Jo Hopper’s diaries permit an intimate look at the interactions of an indissolubly bonded couple, revealing for the first time the personal tensions that lie behind some of Hopper’s most haunting works. Gail Levin, sifting the gritty reality of Jo’s story with her own analytic skills and historical and literary knowledge, uses the diaries to great effect in linking specific paintings to the time, place, and mood in which they were created. Edward Hopper’s images have long since captured the American imagination. Through this provocative biography they take on a new dimension as Gail Levin reveals their roots in the artist’s personal struggle and in the inspiration he drew from literature, theater, film, and a turbulent private life. / CONTENTS Introduction: Truth and Pain The Roots of Conflict: 1882-1899 Defining the Talent: 1899-1906 Seductive Paris: 1906-1907 The Ambivalent American: 1907-1910 In Search of a Style: 1911-1915 The Detour through Etching: 1915-1918 The Deeper Hunger: 1918-1923 The Leading Lady First Success: 1923-1924 CONTENTS Getting Established: 1925-1927 On the Road to America: 1928-1929 Recognition: 1950-1955 First Retrospective and the Truro House: 1955-1955 An Intellectual Self-Portrait Consequences of Success: 1956-1958 The Struggle to Paint: 1959 The War Begins: 1940 Failed Odyssey: 1941 Nighthawks: 1942 Mexico: 1945 War on the Home Front: 1944 The Aesthetic Divide: 1945 Anxiety: 1946-1947 Illness and Loss: 1948 Melancholy Reflection: 1949 A Retrospective Year: 1950 Mexico Again: 1951 Planning Reality: 1952 Reality 1953 Taking Stock: 1954 Personal Vision: 1955 Time Cover Story: 1956 Toward Reconciliation: 1957-1958 Exkursion into Philosophy: 1959 Protest: 1960 Prints Again: 1961-1962 Last Rehearsal: 1963-1964 Final Curtain: 1963-1964 Bibliographical Notes Notes Acknowledgments Index. ISBN 9780394546643 Sprache: Englisch Gewicht in Gramm: 1193, Books<