scholarly journals Do outro lado do silêncio: fotografias e vídeos sobre o cotidiano hiperconectado

2020 ◽  
Vol 20 (36) ◽  
pp. 209-219
Author(s):  
Carlos Alberto Donaduzzi
Keyword(s):  
Edward Hopper

Este trabalho expõe um estudo crítico em torno de um ensaio visual composto por fotografias e vídeos que pretendem apresentar um pensamento sobre as relações das pessoas de hoje com a tecnologia e as redes sociais. Partindo de referências de pinturas de Edward Hopper, as imagens dessa série buscam trazer aos olhos e dar visão ao vazio e ao silêncio da vida contemporânea através de encenações com personagens envoltos em atmosferas coabitadas pelo real e o virtual. 

Edward Hopper: Plates

Art Journal ◽  
1981 ◽  
Vol 41 (2) ◽  
pp. 118-124
Keyword(s):  
Edward Hopper

Edward Hopper: An Intimate Biography

1996 ◽  
Vol 54 (2) ◽  
pp. 245
Author(s):  
Nolan Miller ◽  
Gail Levin ◽  
Mark Strand ◽  
Lloyd Goodrich
Keyword(s):  
Edward Hopper

8. Infrared Reflectography of Edward Hopper’s High Noon: Questions of Authentication

2018 ◽  
Author(s):  
Ian E. Longo
Keyword(s):  
Near Infrared ◽  
Early American ◽  
Edward Hopper ◽  
Private Collection ◽  
The Media ◽  
Catalogue Raisonne ◽  
Infrared Reflectography ◽  
Shed Light ◽  
Ir Reflectography ◽  
High Noon

An unprovenanced oil study, purportedly by the early American realist Edward Hopper (188* -1967), was purchased in 2007 on eBay by a pair of brothers from Ontario. It is a smaller, poorly-executed near-copy of Hopper’s High Noon at the Dayton Art Institute. Given that detailed diary entries by Hopper’s wife, Josephine, note only that four charcoal sketches preceded the final version of High Noon, and fail to mention an oil study, Gail Levin, the author of Hopper’s catalogue raisonné, has conservatively concluded that it can at best be assigned to a dedicated follower. Can Infrared Reflectography of the two paintings shed light on the question of authenticity? Many pigments used by Hopper become transparent in the Near Infrared spectrum, a fact verified by a test-panel. By using a DSLR camera, converted to detect IR, charcoal sketches on the primed canvas of the original were revealed. While IR Reflectography reveals earlier stages in the composition of the authentic High Noon, stages suggested by the charcoal sketches, IR does not provide positive proof for the authenticity of the oil sketch. The issue of authenticity became further complicated when the media, led by the Globe and Mail, took up the case of the owners and overstated the IR results. At present the IR investigation suggests only that the oil study was painted by a follower working from either Josephine’s diary or, more intriguingly, from Hopper’s own sketches, which are held in a private collection.

Hopper, Edward (1882–1967)

2018 ◽  
Author(s):  
Arleen Pancza Graham
Keyword(s):  
New York ◽  
American Art ◽  
Hudson River ◽  
Early Career ◽  
Early Years ◽  
Art World ◽  
Edward Hopper ◽  
Commercial Art ◽  
William Merritt Chase ◽  
Travel Abroad

Edward Hopper was known for his realist paintings of American life in the 1930s through to the early 1960s. Born in Nyack, New York, north of Manhattan and across the Hudson river, his family was successful and solidly middle class. Although his parents supported his study of art after his 1899 high school graduation, their conservative viewpoints informed the trajectory of his efforts; they encouraged him to seek a career in commercial art so that he would have a reliable income. He enrolled in the Correspondence School of Illustration in New York City, supporting himself as an illustrator until 1925, creating over five hundred works. From 1900 until 1906 he studied at the New York School of Art with Robert Henri, whose admiration for European artists inspired Hopper to travel abroad, which he did three times during his early career (1906, 1909, 1910). Hopper also studied with William Merritt Chase, and Kenneth Hayes Miller, and was determined to succeed as a fine rather than commercial artist. It was in these classes that he met friends like Rockwell Kent, Guy Pène du Bois, Reginald Marsh and Stuart Davis, who would become important figures in the art world of the time, as well as his future wife, Josephine Nivison, whom he married in 1924. It was during these early years that Hopper began to exhibit his works at the Whitney Studio Club in New York, the precursor to the Whitney Museum of American Art. In 1920, Hopper had his first one-person exhibition at the Whitney Studio Club, and it foreshadowed his future relationship with that institution.

Gustav Deutsch

2019 ◽  
pp. 51-72
Author(s):  
Scott MacDonald
Keyword(s):  
Major Contributor ◽  
Camera Obscura ◽  
Popular Film ◽  
Remarkable Feature ◽  
Feature Film ◽  
Found Footage ◽  
Edward Hopper ◽  
Home Movies ◽  
Greek Island ◽  
Italian Coast

Austrian filmmaker Gustav Deutsch has been a major contributor to what has come to be called “found-footage filmmaking” and/or “recycled cinema”—that is, he is best-known for making films from other films. This interview focuses on a range of his projects: his first found-footage project, an exploration of home movies made by Austrians visiting the Italian coast in the years after Super-8mm became a popular film gauge for documenting family events; a collaborative diptych of Place, made with an Algerian friend, comparing the Algerian oasis Figuig and Deutsch’s native Vienna; his revisiting of proto-cinematic technologies in the construction of a panoramic camera obscura on a Greek island; his remarkable feature film Shirley—Visions of Reality (2013) in which he (and his partner Hanna Schimek) dramatize a series of canonical Edward Hopper paintings; and the recent Notes and Sketches 1: 31 Pocket Films. 2005–2015, a panorama of everyday events, made with new camera technologies.

Sign in / Sign up

Export Citation Format

Share Document