Edward HopperÉtats-Unis, 1882–1967(Two Hand Studies)
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Whitney Museum of American Art
New York, États-Unis
Elle appartient à la collection, mais n’est pas présentée en ce moment.
- Vérifié
- il y a 8 jours
- Source
- Les données de collection du musée lui-même
Notice
- Numéro d’inventaire
- 70.631
Sources
- Whitney Museum of American Art: the museum's own open data · obtenue il y a 8 jours
- Image : Whitney Museum of American Art — © the artist or rights holder
Pendant ce temps, chez Edward Hopper
La vie entière1915–1923
Turning to etching
At an impasse over his oil paintings, in 1915 Hopper turns to etching; by 1923 he has produced most of his approximately 70 etchings, many of them urban scenes of Paris and New York, as well as some posters for the war effort.
1916–1919
Monhegan Island: seascapes
Hopper paints the majority of his pure seascapes of rocks, sea and beach grass on Monhegan Island between 1916 and 1919, mostly in strong light and fair weather.
1918
The Shipping Board Prize for “Smash the Hun”
In 1918 Hopper is awarded the $300 U.S. Shipping Board Prize for his war poster “Smash the Hun”.
January 1920
A one-man show at the Whitney Studio Club
In January 1920 a one-man exhibition of Hopper's work is held at the Whitney Studio Club, the precursor to the Whitney Museum; earlier, in 1917, he took part in a show of the Society of Independent Artists, and in 1922 he exhibits again at the Whitney Studio Club.
early 1920s
His etchings gain recognition
During the early 1920s Hopper's etchings begin to receive public recognition; they express some of his later themes: a couple in silence (“Night on the El Train”), a solitary female (“Evening Wind”) and a simple nautical scene (“The Catboat”).
