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PAGE TEN

Panel One: Georgia O’Keeffe, Cebolla Church (1945), North Carolina Museum of Art

Panel Two: Edgar Degas, Male Nude (1856), Metropolitan Museum of Art, New York City

Panel Three: Claude Monet, Self-Portrait with a Beret (1886), private collection

Panel Four: Alexandros of Antioch, Aphrodite, or the Venus de Milo (ca 150-125 BCE) – Parian marble, The Louvre, Paris

Panel Five: Leonardo da Vinci, A Study of a Woman’s Hands (ca 1490), Royal Collection Trust, Windsor Castle

Panel Six: Camille Pissarro, Self-Portrait (1903), Tate Modern, London

Panel Seven: Philip Guston, The Room (1954), Los Angeles County Museum of Art

Panel Eight: Edward Hopper, Seven AM (1948), Whitney Museum of American Art, New York City

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PAGE NINE

Panel 1: Andrew Wyeth, Northern Point (1950), Wadsworth Atheneum Museum of Art, Hartford

Panel 2: Albrecht Dürer, Hands of God the Father (date unknown) – study

Panel 3: Pierre Bonnard, Self-Portrait (1889), private collection

Panel 4: Gustav Klimt, Farmhouse in Upper Austria (1912), The Belvedere, Vienna

Panel 5: Pablo Picasso, Self-Portrait (1901), private collection

Panel 6: Michelangelo  di Lodovico Buonarroti Simoni, Composition Sketches and Studies for Frescoes on the Sistine Ceiling (ca 1508), Detroit Institute of Arts

Panel 7: Pierre-Auguste Renoir, Self-Portrait (1875), The Clark, Williams College, Williamstown

Panel 8: Edward Hopper, Ryder’s House (1933), National Museum of American Art, Smithsonian Institution, Washington, D.C.

Panel 9: Camille Pissaro, Spring Pasture (1889), Museum of Fine Arts Boston

Panel 10: Alberto Giacometti, Self-Portrait (1921), Musée National Picasso, Paris

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(Also see A Small List of Great Artists – EDWARD HOPPER)

(Also see EDWARD HOPPER’S HOUSES)

Edward Hopper lived in New York from 1908-1967 – almost sixty years of his life. As the city grew before his eyes into the vast metropolis it has become, his work remained personal, introspective, unpopulated, and existentially alone in feeling. The Whitney had a show about Edward Hopper’s New York with an interesting article.

Hopper’s compositions tended to be as much from imagination as from actual references. He would go on site to sketch meticulaous preparatory drawings, often with detailed notes about color so that he wouldn’t have to paint it on sight, as if to understand the architecture of the piece inside out, and then he brought the sketches home to complete the painting in the studio. Some paintings realized the sketches specifically, while others, he seemed to combine them however he chose, often with elements from his imagination, or memory.

Read the comic book, “Brush with Peril”:


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Small List of Great Artists
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(Also see A Small List of Great Artists – EDWARD HOPPER)

(Also see EDWARD HOPPER’S CITY)

Edward Hopper frequently chose houses as the subjects of his paintings, each with their own distinct personalities; little characters in quiet, still, seemingly timeless and immutable tableaus. Hopper regularly insisted his paintings were a straightforward representation of the real world, but they seem to be loaded with feelings of nostalgia, yearning, and loneliness. Each image feels like a still, distant, but poignant memory.

Read the comic book, “Brush with Peril”:


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PAGE EIGHT

Panel One: Edward Hopper, House by the Railroad (1925), Museum of Modern Art, New York City

Panel Two: Philip Guston, Self Portrait (1944), private collection

Panel Three: Albrecht Dürer, Study of Two Feet (ca 1508), Museum Boijmans Van Beuningen, Rotterdam

Panel Four: Edward Hopper, Cape Cod Sunset (1934), Whitney Museum of American Art, New York City

Panel Five: Michelangelo di Lodovico Buonarroti Simoni, Studies of the Upper Body of a Man and Separate Studies of an Arm, a Hand and an Ear (1511-12) – red chalk, Teylers Museum, Haarlem, The Netherlands

Panel Six: Francesco Paolo Michetti, Self-Portrait (1877) – pastel, Paul Getty Museum, Los Angeles

Panel Seven: Davidsz de Heem, Interior of a Painter’s Studio (ca 1630), Museum of Fine Arts Boston

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PAGE SEVEN:

Panel One: Michelangelo di Lodovico Buonarroti Simoni, Study of Hand (for the tomb of Pope Julius II) (ca 1505)

Panel Two: Camille Pissarro, The Path to Les Pouilleux, Pontoise (1881), Los Angeles County Museum of Art

Panel Three: Edvard Munch, Self-Portrait (1895) with Cigarette, National Museum of Art, Architecture, and Design, Oslo

Panel Four: Georgia O’Keeffe, My Shanty, Lake George (1922), The Phillips Collection, Washington, DC

Panel Five: Gustave Courbet, The Desperate Man (self-portrait) (1843), private collection

Panel Six: Raphael, Studies of Two Apostles for the Transfiguration (ca 1519-20), Ashmolean Museum, University of Oxford – hands

Panel Seven: Edward Hopper,Rooms for Tourists (1945), Yale University Art Gallery, New Haven – SEE BELOW!

Panel Eight: Henri de Toulouse-Lautrec, Self-Portrait (1882-83), Musée Toulouse-Lautrec, Albi, France

Panel Nine: John La Farge, The Old Barn Under Snow, Newport (ca 1860), Isabella Stewart Gardner Museum, Boston

Panel Ten: Piet Mondrian, Self-Portrait (ca 1900), The Phillips Collection, Washington, DC

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PAGE SIX:

Panel One: Rembrandt van Rijn, Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed (1630) – etching, Rijksmuseum, Amsterdam

Panel Two: attributed to Ambrogio de’ Predis, Study of a Hand (ca 1494) – silverpoint, Ambrosian Library, Milan, Italy

Panel Three: Edward Hopper, From Williamsburg Bridge (1928), Metropolitan Museum of Art, New York City

Panel Four: Paul Cézanne, Self-Portrait with Pink Background (1876), Musée d’Orsay, Paris

Panel Six: Andrew Wyeth, Christina’s World (1948), Museum of Modern Art, New York City

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