Unsolicited, but promised Hopper

[Сергеич]

Here Tselkov, he only happy with his Antonina,

And the pictures some monsters, but Tselkov me very much. By abstayatelstv often in the same room and on the wall hangs a meter Tselkov - superhuman beauty.

[fross]

Сообщение от Sergeyitch

And the pictures some monsters, but Tselkov me very much. By abstayatelstv often in the same room and on the wall meter Tselkov - inhuman beauty.

What can you do, some even in the Kondo child hanged.

[LCR]

Let's I've put a few more hoppers. Sergeyitch, of course, does not approve, but I know that there are fans)))

[Glasha]

Сообщение от LCR

but I know that there are fans)))

There is,

In turn, ask: is it really may not like?
(what we are all still different)

[Meister]

and can be lined with all the same biography? Nobody against? I now personally did not know until you looked ...

HOPPER, EDWARD (Hopper, Edward) (1882-1967), American painter, representative of magic realism.
Born in Nayak (piece of New York) July 22, 1882 in the family store owner. Deciding to become a painter, he studied at the New York art school (1900-1906), where his principal mentor was Henry R. (Henray). In 1906-1910 made three trips to Europe. Been heavily influenced by local as an American ( "School of garbage cans", the head of which was Henry) and the French Impressionists. Took part in the avant-garde exhibition "Armor Show" in New York (1913), but generally remained indifferent to the radical avant-garde art.

Having mastered the technique of etching and lithography, before 1924, earned his living in advertising and book and magazine illustrations. In 1920 formed its distinctive picturesque style that has found the best expression in the urban genre, interiors, and landscapes of New York and provincial America. Austere, cold in tone, relatively small format of Hopper's paintings are imbued with the lyrical melancholy poetry of empty spaces, or (if available figures) the motives of human loneliness and alienation (House by the Railroad, 1925, the Museum of Modern Art, New York; two tiers of windows lighthouse, 1929 , Metropolitan Museum of Art, New York; Early Sunday morning, 1930, the Whitney Museum of American Art, New York; Polunoschniki, 1942, the Chicago Art Institute). Similar topics regionalism things Hopper, however, denied the latter characteristic of social grotesque, embodying the "golden mean" in depth-contemplative realism.

Over the years, his painting has increased the emotional role of light, appears at times the main "hero" images (Sunlight on the second floor, 1960, the Whitney Museum of American Art, New York).

Hopper died in New York on May 15, 1967. Many of the paintings by the master, using the big popularity, became national art archetypes, frequently figuriruya on book covers, in visual advertising, dispersing record copies of postcards and posters.

Taken from here - http://www.krugosvet.ru/articles/91/.../1009127a1.htm