By Orietta Rossi Pinelli
Edward Hopper (July 22, 1882 – may possibly 15, 1967) used to be a fashionable American realist painter and printmaker. whereas he was once so much popularly recognized for his oil work, he used to be both expert as a watercolorist and printmaker in etching. either in his city and rural scenes, his spare and finely calculated renderings mirrored his own imaginative and prescient of recent American life.
Un file dedicato a Hopper.
Come tutte le monografie della collana "Dossier d'art", una pubblicazione agile, ricca di belle riproduzioni a colori, completa di un utilissimo quadro cronologico e di una ricca bibliografia.
La lunga storia del successo
Scene di vita americane
La difesa del realismo
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Extra info for Giunti: Hopper (Art Dossier)
The striking feature of the composition is the contrast between the two donors shown on the left side in profile, and the Madonna and Child who are painted in a more vigorous and colorful style, reflecting at the same time an interest in the use of contrapposto. Part of the explanation lies in the fact that the two figures of the Virgin and her son are known to have been taken from a composition by another artist, probably a Roman in the circle of Raphael or Giulio Romano. They are already slightly "mannered", whereas the donors are typically Venetian, painted in the traditional way.
Johann, Malines) and which were done about this time or shortly after. It was precisely during this period that Van Dyck was working most closely with Rubens and learning to imitate his style, and it is more likely that Van Dyck would have made a replica of the first painting than Rubens.
They illustrated stories from the Old and New Testaments that related to the sacraments. The present canvas belonged to the series and was hung high on the left wall just next to the entrance to the chapel. The subject, which is rare, comes from the book of Numbers in which Moses sent spies into Canaan to find whether the land bore fruit. After forty days they returned with pomegranates, figs, and grapes. The subject was chosen because the grapes were considered a préfiguration of the wine drunk at the Last Supper, the subject that hung to the right of our painting.