NIGHTHAWKS, 1942 by Edward Hopper at Art Institute Chicago, Scarf

95.00

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Artikelnummer: 22-02-08 Categorie: Tags: , , , , , , , ,
  • Beschrijving
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Beschrijving

The ARTWORK Collection of scarves is a unique and personal choice of international works of art by Dorien and David. Resources are the international art museums with their public domain art. The selected works of art are from all times and all places.

 If possible and available we give information on the title of the artwork, the date, the creator and the museum. Original creator and title we print on the scarf.

David (DesignsOfDavid) takes care of the digital representation, based on the original version.

Some earlier scarves of David from the Collection ‘Industrial and Urban Poetry’ will be re-issued in the ARTWORK Collection. We start with a View on the Erasmus Bridge of  Rotterdam (blue or sepia)   (70% wool and 30% silk, 200 x 70 cm, € 95,- , DORIENDAVID) .

 

Edward Hopper (1882-1967) is widely acknowledged as the most important realist painter of twentieth-century America.

His career benefited decisively from his marriage to fellow-artist Josephine Nivison, who contributed much to his work, both as a life-model and as a creative partner. Hopper was a minor-key artist, creating subdued drama out of commonplace subjects ‘layered with a poetic meaning’, inviting narrative interpretations, often unintended. He was praised for ‘complete verity’ in the America he portrayed.

About  Nighthawks Edward Hopper recollected, “unconsciously, probably, I was painting the loneliness of a large city.” In an all-night diner, three customers sit at the counter opposite a server, each appear to be lost in thought and disengaged from one another. The composition is tightly organized and spare in details: there is no entrance to the establishment, no debris on the streets. Through harmonious geometric forms and the glow of the diner’s electric lighting, Hopper created a serene, beautiful, yet enigmatic scene. Although inspired by a restaurant Hopper had seen on Greenwich Avenue in New York, the painting is not a realistic transcription of an actual place. As viewers, we are left to wonder about the figures, their relationships, and this imagined world.

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