HopperKnopf Doubleday Publishing Group, 29 de nov. de 2011 - 96 páginas Now in rich color, thirty of American painter Edward Hopper’s masterpieces with critiques from acclaimed poet Mark Strand. Strand deftly illuminates the work of the frequently misunderstood American painter, whose enigmatic paintings—of gas stations, storefronts, cafeterias, and hotel rooms—number among the most powerful of our time. In brief but wonderfully compelling comments accompanying each painting, the elegant expressiveness of Strand’s language is put to the service of Hopper’s visual world. The result is a singularly illuminating presentation of the work of one of America’s best-known artists. Strand shows us how the formal elements of the paintings—geometrical shapes pointing beyond the canvas, light from unseen sources—locate the viewer, as he says, “in a virtual space where the influence and availability of feeling predominate.” An unforgettable combination of prose and painting in their highest forms, this book is a must for poetry and art lovers alike. |
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... Dark Harbor , 1993 Reasons for Moving , Darker , & The Sargentville Notebook , 1992 The Continuous Life , 1990 Selected Poems , 1980 The Late Hour , 1978 The Story of Our Lives , 1973 Darker , 1970 Reasons for Moving , 1968 Sleeping ...
... Dark Harbor , 1993 Reasons for Moving , Darker , & The Sargentville Notebook , 1992 The Continuous Life , 1990 Selected Poems , 1980 The Late Hour , 1978 The Story of Our Lives , 1973 Darker , 1970 Reasons for Moving , 1968 Sleeping ...
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... dark city , that urges us to stay . Here , as in other Hopper paintings where streets and roads play an important part , no cars are shown . No one is there to share what we see , and no one has come before us . What we experience will ...
... dark city , that urges us to stay . Here , as in other Hopper paintings where streets and roads play an important part , no cars are shown . No one is there to share what we see , and no one has come before us . What we experience will ...
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... dark , tangled , impenetrable presence of nature . They exist in the painting as a frightening alternative to the store , which mani- fests a set of orders , the most obvious of which is the temporal one symbolized by the centrally ...
... dark , tangled , impenetrable presence of nature . They exist in the painting as a frightening alternative to the store , which mani- fests a set of orders , the most obvious of which is the temporal one symbolized by the centrally ...
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American Art Museum Art Resource Bridgeman Art Library buoy Cape Cod Morning Chair Car Circle Theatre City Sunlight Courtesy The Museum Courtesy Whitney Museum dark dark city Dawn in Pennsylvania diner door Early Sunday Morning Edward Drummond Libbey Empty Room engaged column everything Excursion into Philosophy feel figures Four Lane Road Gallery of Art Ground Swell Hirshhorn Museum Hopper's light Hopper's paintings Hotel Room Hotel Window John Hay Whitney looking at Hopper MARK STRAND Modern Art Morning Sun Museum of American Museum of Art Museum of Modern narrative Nighthawks Oil on canvas painting's geometry Pennsylvania Coal Town Photo credit picture Plato Poems Purchased with funds reading scene Second Story Sunlight seems Seven A.M. side space Stairway stares Stephen Carlton Clark storefront street tion of Whitney trapezoid University Art Gallery vanishing point viewer waiting wall Washington Western Motel woman sits Yale University Art York Movie zoid