Edward Hopper (1882-1967)

Edward Hopper has been called "perhaps the greatest representational artist of the first half of the twentieth century." His work was hailed as "among the most enduring, hypnotic and unsentimental images of American places ever made."

Born to a religious middle-class family on the Hudson River in Nyack, NY, Edward Hopper became a near-legend in his own time. In adolescence he drew constantly and displayed a strong interest in oils and watercolors but excelled with pen and ink. By 12 years of age he had grown to a height of six feet, was awkward and uneasy in appearance. This sense of being an outsider never left him, and his caricatures of himself often reflected this self-dislike.

At 17 Hopper's parents forced him into commercial illustration at a "mediocre profit-shop." He disliked the entire experience and lasted only one year there. He switched to The New York School of Art and learned that rather than the rigidness of commercial work, any subject was allowable to artists. He liked the school so much that he stayed well past the regular course of instruction.

Since France was the destination for artists, Hopper went there only to estrange himself from the great painters that lived in Paris at that time (Picasso, Renoir, Cezanne). After experiencing a bitter cold and rainy winter, Hopper loved the Parisian spring. With the colors of the season and his viewing of impressionistic works, his palette moved toward pastel tones. In late summer he returned to Nyack and then moved to Manhattan to immerse himself in his work. He returned to Paris for a short time to recharge color and the sensual content of his paintings.

Since he needed a sustainable form of income, Hopper returned to commercial work. Although he hated the drudge, he worked long enough to earn trip money for a dash to Paris that was to be his last trip. When Hopper returned to his home and studio, nothing was clear about his style or subject matter so he continued to sweat out a living in advertising art, although he hated every minute of the work. During this time he was doing magazine illustrations and used as his subject office interiors. Unknown to Hopper at the time, this was laying the groundwork for all his future art.

Early in his career, Hopper began to do etchings. They seemed to center him and it was these works upon which his reputation was built, not his early oils.

In 1913, Hopper rejoiced in the fact that a work, Sailing, was accepted in the great Armory Show. The exhibit drew a huge crowd and it was at this show that he sold his first painting. With this sale, Hopper started a ledger to which he added sales for the next 53 years. At the end of 1913, Hopper moved to Greenwich Village to a walkup with 74 steps that was to be his home for the rest of his life. When he married Jo Nivison (a model Hopper used for several of his works), she lived there as well.

Few works sold over the next few years and Hopper continued his illustration work. Included in this work were movie posters, thus beginning a long interest in films. Over the next few years, invitations for exhibitions at several small galleries were extended. To these shows Hopper sent his French paintings, but the public was in a mood for more patriotic, nationalistic art and his sales were disappointing.

Hopper was an individualist and was aware of his strengths as an artist. He displayed a strong sense of individualism by the selection of his subject matter - gas stations, highways, cafes, movie houses, drugstore windows, sidewalks and by-gone architecture. Prior to his work, these were considered unsuitable for art subjects. Although his work contained these truly American themes, in the 1950's towards the end of his painting career, the public was less enamored with them. Being considered old fashioned or out of date was a stigma about which Hopper fretted.

Critics often claimed that Hopper's works displayed psychological tension and loneliness, but Hopper himself didn't see it that way and thought the loneliness thing was overdone. He viewed the images as displaying a sense of self, as different and apart from the masses. The solitude of self, the intimate feeling of being an individual was Hopper's philosophy.

Although labeled as a realist, Hopper always considered his work to be impressionistic. While artists of the time painted details and refined images, Hopper's eye erased detail, thus reducing clutter but leaving recognizable images.

Hopper's work habit was involved, with an immense amount of scouting, research, preparation, sketching and thinking. For one work alone, he created 53 sketches before beginning the painting. This is especially interesting because Hopper often suffered from painter's block. These sketches seemed to center his attention and motivate him to continue.

With his wife, Jo, Hopper shared 43 years of mixed emotions: tenderness and fury, competition, resentment, and rejection. Throughout his career, Jo was the primary female model for paintings, including a series of works done when she was almost 60. She seemed always for his benefit to be there at the right times.

As his career wound down, Hopper struggled to find subjects for his work. In the late 1950's Hopper's friends and colleagues began to die, adding to his difficulty. He continued to paint, but did fewer and fewer works. He died in the old walkup studio in May of 1967. Jo survived him for 9 months, but could not make it alone with the bills, ill-health and loneliness.

In May, Christie's sale of Post-War and Contemporary Art in New York City set a new world auction record for Edward Hopper. Chair Car (1965), a rare masterpiece and one of the last works by the artist in private hands, sold for $14,016,000.

Exhibitions of Hopper's Work

Philadelphia Museum of Art, PA -- At the Window: Etchings by Edward Hopper runs through July 31 and includes some 50 works that trace the evolution in his prints of many of the signature subjects of the artist's mature style.

Addison Gallery of American Art, Philips Academy, Andover, MA -- Eye on the Collection: West to Hopper runs through October 16 and intends to acquaint visitors with the depth and breadth of the museum's holdings of paintings by artists ranging from Benjamin West to Edward Hopper.

Whitney Museum of American Art, New York, NY -- Hopper to Mid-Century: Highlights from the Permanent Collection, on continuous view, includes a special concentration of paintings by Hopper, among others.

Midwest National Abstract Art Exhibition 2005

Oct. 8 - 31
Johnson County Museum of History
Downtown Franklin, IN
Deadline: July 30
www.southsideartleague.org

Artists currently residing in the U.S. are eligible to enter up to three original works. Media accepted include oil, acrylic, watercolor, mixed media, graphics, pastel, drawing and sculpture. Cash awards.

National Exhibition--"Catching the Light"

Oct. 20 - Nov. 20
Arkansas Pastel Society, Little Rock, AR
Juror: Maggie Price
Deadline: August 15
www.arkpastel.com

Open to all artists over the age of 18, entries must be at least 80% soft or oil pastel and be original, unpublished and created within the last three years. Cash awards include Best of Show and 1st through 3rd prizes for Landscape, Still Life/Floral, Portrait/Figure, Abstract and Animal/Wild Life.

Masters Mystery Art Show 2005

This is an international exhibition that will coincide with Art Basel Miami Beach 2005 and is organized for the sole benefit of the Master of Fine Arts in Visual Arts program at Florida International University, Miami. Artists are invited to donate original work in any medium in a 6" x 9" postcard format to be sold for the affordable price of $50. Artist names will be published but the works will be displayed anonymously, as the identity of the artist is revealed to the purchaser only after the completion of the sale.

Tips for Framing and Matting Prints

Ask any professional framer and he/she will tell you that there are dozens of ways to frame an art item, every one equally appealing. If you have wanted to attempt framing a poster or print but were unsure how to begin, this article is right for you. By understanding the elements of framing, you may choose those you feel capable of completing and those you might prefer to have a framer do for you. The elements in every frame presentation include the art, the frame, the glass and the backing. Matting is optional.

If the art is original or limited edition, you might want to consider the archival qualities of the materials you use in framing the project. Acid-free backing and mats make a big difference in the lifespan of quality art.

Working from the back to the front is a good way to begin thinking about how you want to present your work. What is placed behind your art to hold it flat behind the mat is very important. Avoid using corrugated board, as it will emit acids that cause any art to discolor and, actually, burn the art permanently. Foam board is a very wise selection because it's easy to work with and is cost-effective.

Glass comes in different qualities, and the most widely used glazing is clear glass. It and non-glare glass give about 44% UV protection. Available through framing stores is conservation glass, coated on the artwork side to reflect up to 98% of the UV. Acrylic sheeting is an option for game rooms or areas of high traffic, and it affords about 44% UV protection, too.

Frames can be obtained from art material dealers, sometimes with glass included in the package. When the project involves an odd size, you may find what you need is at an art materials dealer where sectional kits with all hardware included are sold. Additionally, many custom shops will work with you, allowing you to do any part of the project you want and they do the remainder.

To complete the desired look, you may wish to select matting. This is mentioned at the end of this article, although if you plan to use mats, their widths most often change the dimension of the frame size. If you want mats, add their measurements to the image size to calculate the size of the outside of your art package, which determines the size of the glass and the frame, too.

It's easy to personalize your finished art presentation with specialty mats. They might be painted, textured or even fabric-covered mats. Each time you add a personal touch, you create an original look, which is the element that separates the ordinary from the extraordinary.

So, gather up your artworks and start framing them today!

Color Resource

Powercolor--Master Color Concepts for All Media by Caroline Jasper is for all artists at all skill levels working in any medium. This comprehensive survey of color gives artists the knowledge and power to do more with color. Artists learn what color is; the color wheel; various types of color contrast; how a medium's physical characteristics affect the use and appearance of color; how color can be used effectively in a variety of theories, methods of applications and mediums, and more. 144 pages, paperback, Watson-Guptill Publications.

Iwata-Medea Celebrates

Congratulations to Iwata-Medea as they celebrate their 25th Anniversary! For over 25 years, Iwata Medea, Inc., formerly Medea Airbrush Products, has provided the world's talented and creative people with the finest in airbrush equipment and related supplies. They look forward to the future as they continue to pursue innovation and manufacturing excellence so that artists and craftspersons will continue to have confidence in Iwata Medea as their supplier of fine products that place no limits on people who create. See Iwata Medea's extensive product line at www.iwata-medea.com.

New VP for Strathmore

Mohawk Paper Mills, Inc., has named John O'Connor as Senior Vice President-Administration & Strathmore Artist Papers. O'Connor and the Strathmore team will optimize sales opportunities, identify opportunities for operational efficiencies and grow the business. Strathmore Artist Papers are known and respected worldwide. See www.strathmoreartist.com for their fine line of products for artists and craftspersons.

While you are planning your summer travels, consider the possibility of including some spectacular art viewing. There are hundreds of sculpture sights throughout the U.S., and following you will find information about a few:

Storm King Art Center

This unique art museum features more than 100 sculptures exhibited on 500 beautiful Lower Hudson River Valley acres. The lawns, fields and woodlands provide a perfect setting for postwar sculptures by internationally renowned artists. The exhibition space is defined by sky and land, not encumbered by walls. Included are works by David Smith, Alexander Calder, Henry Moore and Louise Nevelson as well as many contemporary sculptors. New this year is a special exhibition comprising more than 80 of Richard Bellamy's photographs of the sculptures of Mark di Suvero and more than 20 works by di Suvero, through the end of the season on Nov. 13; and it will reopen for the 2006 season from April 1 Nov. 15, 2006.

di Rosa Preserve

5200 Carnera Highway, Napa, CA
(707) 226-5991 - Admission (Free on Wednesday)
www.dirosapreserve.org

Are you ready for a visit to the most understated cultural, art, architecture, and nature preserve in California? On over 200 landscaped acres are four buildings designed for the display of over 2,000 pieces of visual art done by over 700 Bay Area artists, and the collection is still growing. Surrounding the four large galleries are beautiful vineyards on rolling hills that include the 35-acre pond, Winery Lake. The di Rosa Preserve is open year round tours are available for both the indoor art and the meadows, where large-scale outdoor sculptures are on display.

Forest Hills Trust

95 Forest Hills Avenue, Boston, MA
(617) 524-0128
www.foresthillstrust.org

The grounds of the Forest Hills Trust in nearby Roxbury consist of over two hundred acres of well-landscaped lawns and ponds that are graced with many types of trees from all over the world, some over 100 years old. Forest Hills Cemetery was created to offer visitors a special place to enjoy a magnificent landscape while remembering friends and family. Sculpture became an essential feature of this environment as masterpieces of American art in bronze and stone by Daniel Chester French, Martin Milmore and others (as well as works by talented anonymous artisans) were brought by individuals as personal memorials. The Educational Trust began to organize exhibitions of contemporary art in 1998, and in 2001 the Sculpture Path was established to welcome the work of contemporary artists into this unique open-air museum. This growing collection of sculptures is mostly by New England sculptors in varying types of media including bronze, stone and materials that can withstand local climatic conditions.

Wandell Sculpture Garden

This sculpture garden, owned and operated by the Urbana Park District, is part of the 130-acre community park--Meadowbrook Park. A three-mile hard-surface trail wanders through the 30-acre sculpture park, where large-scale works sit amid recreated native Illinois prairie. Most of the sculptures, in a wide variety of media, are on two-year loans from the artists or collectors.

Sydney and Walda Bestoff Sculpture Garden

New Orleans Museum of Art
1 Collins Diboll Circle (City Park)
New Orleans, LA
(504) 488-2631 -- Free Admission
www.noma.org

The five-acre Besthoff Sculpture Garden opened with fifty sculptures in November 2003. This world-class collection of modern and contemporary sculpture is presented in an incredible natural setting with "delights at every turn." Included are works by Lachaise, Moore, Lipchitz, Zorach, Hepworth, Bourgeois, Segal, Shapiro, Botero, Oldenburg, Indiana and others. The garden is situated on a beautifully landscaped site among meandering footpaths, reflecting lagoons, Spanish moss-laden 200-year-old live oaks, mature pines, magnolias, camellias and pedestrian bridges. Three entrances enable easy access from different areas of City Park.

But, this is just the beginning. If you like the Besthoff Sculpture Garden, you will love to see more of Sydney Besthoff's fine art collection. In the Warehouse District of New Orleans, on the 7th floor of the K&B Building, Lee Circle, are the executive offices of Besthoff's former drugstore chain. The public is allowed to visit his eclectic collection of contemporary paintings and sculptures. On the main floor outdoor plaza is a large stone sculpture by Isamu Noguchi.

Pulitzer Foundation for the Arts

The pièce de résistance here is a 125-ton steel sculpture named "Joe" in honor of Joseph Pulitzer, the patron and good friend of the artist Richard Serra. Its huge curvilinear steel swoops curl in and over each other. Visitors can walk through them; and when they arrive at the center, they can look up and see daylight or stars shining down on them. The museum is open two days a week (Wed. and Sat.) and is limited to 50 visitors on a first-come, first-served basis; reservations are required for groups of 5 or more. Owned and operated by the Pulitzer Foundation for the Arts, the building houses 20th century and modern art and features changing exhibitions in the gallery spaces as well as docent-led tours, symphony concerts, and a lecture series. On view through July 23 is Brancusi and Serra in Dialogue. This is the first non-residential building in the U.S. designed by Pritzker Prize-winning architect Tadao Ando, and its unusual concrete exterior is said to be as much a work of art as the paintings/sculptures inside.

Working With a Color Wheel

When you look at a color wheel, it appears to be a neat collection of colors that look like a rainbow in circular form. But it is far more than that. To put the color wheel to use is not difficult as long as you understand some simple concepts related to the use of color.

To begin, there are three "classifications" of colors represented on the color wheel. These are primary, secondary and tertiary colors. The first set of colors, primary colors, includes red, yellow and blue. These are primary because they cannot be created by combining any other colors and all other colors are derived by combinations of them.

Secondary colors are those of orange, green and purple. Secondary colors are combinations of the primary colors of red, yellow and blue. They are used in painting to enhance the primary colors and used on their own as dynamic additions to the palette.

The third classification is tertiary colors which are combinations of secondary colors. Those are yellow-orange, red-orange, red-purple, blue-purple, blue-green and yellow-green.

Another division of color is that of analogous colors. These are colors that sit next to one another on the color wheel. They are very closely related because they are direct mixtures using the adjacent color. For instance, yellow is next to yellow green. Yellow green sits next to green. In painting, each is used to create tones within one another, to mellow or to highlight the related color.

Complementary colors are those that sit directly across from one another on the color wheel: red and green, blue and orange, yellow and purple. Each color can be used to darken or lighten its complement, and they always work well when paired together within a work.

Another type of color relationship is the triad. By placing an equilateral triangle on the color wheel, you can create color schemes that have a pleasant appearance and work very well together. This use of color will open up a completely new palette of tones to your work.

Using color wheels and color theory to choose the color scheme for your art can make your work easier. Using the wheel allows you to put together groups of colors that are harmonious and look good together.

Practice mixing colors starting with the three primary colors only. This exercise will help you understand the relationship between color components and see how easily color can be controlled to work for you rather than against you.

Color wheels come in all sizes and types, so check them out at your art materials retailer and see which seems to work best for you. Any one can help you achieve a better understanding of colors and how they interact, why they work or don't work together and how you can make them perform exactly the way you want them to. The exploration of color is fascinating and interesting, too!

ART Santa Fe 2005 - Sixth Biennial Art Fair - July 14-17 - Sweeney Convention Center -- Big enough to be interesting, but small enough to be intimate and digestible, the fair offers visitors a highly selective overview of the contemporary art market. The lineup of exhibitors includes several top Asian galleries, a strong contingent of Europeans, an exciting array of work by Latin American artists and outstanding galleries from New York and elsewhere in the U.S. Block-Busta, an initiative by the Santa Fe art scene's younger set, will feature on-site installations at venues all over the city. For info: 505.988.8883 and see www.artsantafe.com.

Photo San Francisco 2005 - July 21-24 - Fort Mason, Festival Pavilion -- More than 80 galleries and private dealers from around the world will be present to exhibit and sell the finest photographic art ranging from rare 19th century photographs to progressive photo-based art including video and digital art. Info: 323.937.5525 and see www.announceart.net/photosf/2005/info.html.

The Airbrushing Work Space

The ideal work space/environment isn't always available to the airbrush artist. You may work in a spare room, garage, basement, barn, or, if you are lucky, a studio designed with your specific needs in mind. The artist makes do with what's available, and the airbrush work space can easily be set up just about anywhere.

The airbrush requires compressed air to operate. Either a compressor or compressed gas (CO₂) is used to generate the required air. The compressor requires electric to operate, but CO₂ does not, so it's possible to use the airbrush in a plein air environment or a studio that has daylight only and no electric. Artists work on an easel in some instances or on a wall in others. The type of work may require working on a table or possibly on a sculpture stand; or they could be doing ceramic work and use the airbrush to spray glazes on pottery.

Wherever they work, an air regulator and an airbrush holder are required. The regulator is used to control the flow of air into the airbrush, while the holder allows the artist to set the airbrush down without spilling paint. These two items can be purchased together, and this unit is also available with a moisture trap, which prevents undesirable moisture from entering the airbrush. Having this unit of regulator/holder/moisture trap close by makes it convenient for the artist and eliminates long lengths of hoses from running across the work space. The unit clamps onto tabletops, taborets and easels of all sorts.

Ventilation is important in all types of work environments. If you airbrush on large areas using toxic materials (oil paint or automotive paint), the appropriate dust mask/respirator is required to prevent inhalation. No matter what material is sprayed, exhaust fans are desirable and self-contained spray booths are available.

It's most convenient to have a work space where you can leave the airbrush equipment hooked up at the end of the workday so that the next day you can quickly pick up where you left off. However, if this is not possible, hooking up the airbrush is simple. The air source has a hose that goes to the air regulator combo; then an airbrush hose runs from the regulator to the airbrush. Turn on the regulator, set it to the air pressure desired, depress the trigger of the airbrush and spray. These items can easily be disassembled and stored when necessary.

Stamps Released--The U.S. Postal Service has released "Masterworks of Modern American Architecture," with each of 12 buildings depicted through a stunning photograph on the sheet of 37-cent stamps. Included among these are the Guggenheim Museum, Yale Art and Architecture Building, High Museum of Art, and the National Gallery of Art.

Arts/Humanities Award Given--Sculptor Mark di Suvero has received the Heinz Award in the Arts & Humanities for "his sweeping contributions to America's cultural landscape through a daring body of sculpture and an enduring commitment to broaden public venues for the visual arts." The award consists of a medallion and an unrestricted cash prize of $250,000.

Grant Received--The George Eastman House, Rochester, NY, has received a $4 million grant from the Andrew W. Mellon Foundation. This will allow the training of 40 advanced students in the craft of photo conservation.

Approval Given--The NYC Landmarks Preservation Commission has approved a design for the expansion and renovation of the Whitney Museum of American Art. Designed by Renzo Piano, the new design creates additional galleries, a public piazza, new education facilities, an auditorium, an expanded library, art conservation labs, a study center, offices, enclosed loading dock and visitor amenities.

Design Winner Announced--Enrique Norten (TEN Arquitectos, Mexico City and NYC) has won the architectural competition to develop a conceptual design for the proposed Guggenheim Museum in Guadalajara. The competition is part of a study to explore the feasibility of establishing a world-class museum in Guadalajara, primarily for Modern and contemporary art.

Milestone Reached--Tadashi Sato, considered one of Hawaii's greatest artists/muralists, has died at age 82. Sato's works are included in prestigious museum collections all over the country as well as Hawaii.

Biennale Awards Given--The International Juries of the 51st International Art Exhibition, La Biennale di Venezia, have announced their official awards. Among them, the Golden Lion to an artist exhibited in the International Exhibitions went to Thomas Schutte (Germany), Golden Lion for Best National Participation went to France and the Golden Lion for Lifetime Achievement went to Barbara Kruger of the USA.

Refurbishing Unveiled--Creative Time and artist Steve Powers have unveiled a public art initiative in New York's renowned Coney Island. The Dreamland Artist Club, named for one of the famous parks of the Island's heyday, features resurfaced rides, custom signs, amusement backdrops and murals by more than 20 emerging and established artists at a range of Coney Island businesses. An exceptional range of artistic styles and practices employs contemporary artists' visions to renew, revive and reinvent the tradition of colorful, hand-painted signage and advertisements dating back more than a century.

NEA News--The U.S. House of Representatives has passed an amendment to increase funds for the NEA by $10 million, bringing the total to over $131 million.--Members of the newly formed Federal Advisory Committee on International Exhibitions will advise the NEA and the Dept. of State on the selection of artists to represent the U.S. at major international arts exhibitions. This will ensure that excellence, vitality and diversity of American contemporary art are represented at international visual arts exhibitions. The first official meeting will be held in late September to review applications from curators and visual arts institutions interested in participating in exhibitions in Sao Paulo, Brazil and Cairo, Egypt.

Exhibitions:

Los Angeles, CA -- The Getty Center -- Rembrandt's Late Religious Portraits brings together for the first time many of Rembrandt's powerful religious portraits that were created towards the end of his life during a time of personal turmoil. This exhibition of 16 paintings considers the relationship between his religious convictions and his creative impulses. Through Aug. 28.

New York, NY -- Museum of Modern Art -- Pioneering Modern Painting: Cezanne and Pissarro 1865-1885 is a major exhibit that presents the work of these two artists in the context of their artistic relationship. Featured are approximately 80 paintings and eight drawings executed by both artists as they worked side-by-side in Pontoise and Auvers in France's Oise River Valley. Through Sept. 12.

New York, NY -- Metropolitan Museum of Art -- Matisse: The Fabric of Dreams--His Art and His Textiles features approximately 30 paintings and 35 works on paper displayed alongside samples of the artist's personal collection of fabrics, costumes and carpets. This marks the first public showing of Matisse's textile collection. Through Sept. 25.

Blue Mountain Lake, NY -- Adirondack Museum -- Wild Exuberance: Harold Weston's Adirondack Art includes early oil and pencil on board sketches; studio oil on canvas landscapes in their original hand-carved and gilded frames; landscape nudes; work of the '30s done before the GSA murals and after; and examples of abstract work of the '60s, as well as cases containing photos, sketchbooks, diaries, reviews, mementos and more. Through October 2006. Also, Wild Impressions: The Adirondacks on Paper showcases the museum's comprehensive print collection and presents pictures of the region's topography and everyday life and the role of word and image to advocate conservation of natural resources. Through Oct. 2005.

Santa Fe, NM -- Georgia O'Keeffe Museum -- Georgia O'Keeffe and Andy Warhol: Flowers of Distinction brings together approximately 40 depictions of flowers by two of America's most celebrated and popular artists. The exhibit demonstrates how the artists' paintings of the same subject allowed them to both position and distinguish themselves within an age-old tradition of flower painting. Through Jan. 8.

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Copyright ARTtalk Vol. 15 No. 9 -- July 2005