Notre Dame de Paris, Edward Hopper, 1907
Edward Hopper, portraitEdward HopperÉtats-Unis, 1882–1967

Notre Dame de Paris

1907 · Painting

Peut-on la contempler ?

Elle ne reçoit pas en ce moment

Whitney Museum of American Art

New York, États-Unis

Elle appartient à la collection, mais n’est pas présentée en ce moment.

Vérifié
Source
Le musée

Notice

Numéro d’inventaire
70.1179

Au catalogue

Sources

Pendant ce temps, chez Edward Hopper

La vie entière
  1. 22 juillet 1882 – 1910 · Résidence

    Edward Hopper Birthplace and Boyhood Home

  2. 1899–1905

    The school of Chase and Henri: not the subject, but how you feel about it

    At the New York School of Art and Design, where he spends six years, William Merritt Chase teaches him oil painting and at first Hopper models his style on Chase, Manet and Degas, while sketching from live models proves shocking for the conservatively raised young man. Robert Henri, who teaches the life class, urges his students to “make a stir in the world” and teaches that it is not the subject that counts but what you feel about it.

  3. 1900–1906 · Formation

    Parsons School of Design

  4. 1905

    Meeting Josephine Nivison

    In Robert Henri's classes Hopper meets his future wife, the artist Josephine Nivison; in 1914 both stay at the same boarding house in Ogunquit, but they will grow close only in 1923.

  5. 1905

    A job at an advertising agency: trade-magazine covers

    In 1905 Hopper lands a part-time job at the advertising agency C. C. Phillips and Company, where he designs covers for trade magazines such as the New York Edison Bulletin. He comes to detest illustration but economic necessity keeps him in it until the mid-1920s.

  6. 1906–1910

    Three trips to Europe, centred on Paris

    Ostensibly to study art, Hopper makes three trips to Europe, each centred on Paris, with visits to London, Berlin and Amsterdam: in fact he mostly works alone, drawing street and café scenes and going to the theatre and opera, little affected by the new currents. He is highly impressed by Rembrandt, particularly the Night Watch, and later claims few European influences other than Rembrandt, Goya and the French engraver Charles Meryon, whose moody Paris scenes he imitated.

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