Edward Hopper exemplifies the zenith of 20th century American Realism. After training under Robert Henri at the New York School of Art, Hopper worked as a commercial illustrator for the first half of his life. In fact, although Hopper sold a variety of prints and watercolors on the side, he did not achieve his first artistic success until he was forty-three. At the Rehn Gallery in 1924, all of Hopper's works on display were purchased. From that point on, Hopper's use of light, isolation, and narrative in his works would define him. Hopper's impact was so dramatic that Alfred Hitchcock would later use his painting, The House by the Railroads, for inspiration on his classic film, Psycho ("Edward Hopper"). Nighthawks is Edward Hopper's most famous work. The title itself refers to the night-going characters that reside in the painting, sitting at the table of a diner. This painting is an American classic, appearing in the pop culture of its time and in examples that are more current. Just by doing a quick search on Google images, an abundance of parodies can be found, replacing the figures in the original with ones from Star Wars, The Simpsons, CSI, and more recently, The Walking Dead. There is no doubt that Hopper has affected the American art scene with this masterpiece, and there are numerous reasons it has become so prominent. Edward Hopper's distinguished painting, Nighthawks, is a representation of the pinnacle of the American realism, the attitude of Americans during the Second World War, and the expansion of New York City. On display at the Art Institute of Chicago, Nighthawks is an oil and canvas work that represents Edward Hopper at his most iconic and popular. Hopper more than often drew on his immediate surroundings for in... ... middle of paper ... ... Hopper has been posthumously recognized for his contributions to the field due to the timeless power of works like Nighthawks. The painting still evokes a compelling, although gaunt, spectacle for the imagination. Works Cited Chilvers, Ian. "Realism." A Dictionary of Modern and Contemporary Art (2 ed.). N.p.: Oxford UP, 2012. Oxford Reference. Web. 10 Apr. 2013. Douglas, Ann. Terrible Honesty: Mongrel Manhattan in the 1920s. New York: First Noonday Press, 1995. Print. Dumenil, Lynn, ed. "New York City." The Oxford Encyclopedia of American Social History. N.p.: Oxford UP, 2012. Oxford Reference. Web. 8 Apr. 2013. "Edward Hopper." American Cultural Leaders. 2001. eLibrary. Web. 14 Apr. 2013. McNeese, Tim. World War II 139-1945. New York: Chelsea House, 2010. Infobase eBooks. Web. 14 Apr. 2013. "World War II." American History. ABC-CLIO, 2013. Web. 14 Apr. 2013.
Schaffer, Richard, and Neil Smith. "The Gentrification of Harlem?" Annals of the Association of American Geographers 76.3 (1986): 347-65.Department of Geography. Hunter College of the City of University of New York. Web. 25 May 2014. .
African or American? Black Identity and Political Activism in New York City, 1784-1861., Alexander, Leslie M., 2008
In the essay, “Boston and New York in the Eighteenth Century” by author Pauline Maier describes the duties and personalities to the American colonial cities and what made New York and Boston so exclusive and distinctive from one another by the point of the eighteenth century. Maier comes to an end of the cities that are being observed and concentrated functions of the Boston and New York were the local capitals and important to the cultural centers of newspapers and pamphlets being advertised, deliberated, and delivered. In the seventeenth century, the Boston merchants had encountered with their colony’s Puritan leaders to separate Massachusetts from the Old World contamination to verify the demands of commerce. New York and Boston have their differences not only in the people or legislation, but the feelings and character that surrounded culture. They did a request of the characteristics of how they establish and continue over the time also their effects in the American history.
In “Part One: The Negro and the City,” Osofsky describes the early Black neighborhoods of New York City, in the lower parts of Manhattan: from Five Points, San Juan Hill, and the Tenderloin. He describes the state of Black community of New York in the antebellum and postbellum, and uses the greater United States, including the Deep South, as his backdrop for his microanalysis of the Blacks in New York. He paints a grim picture of little hope for Black Americans living in New York City, and reminds the reader that despite emancipation in the north long before the Civil War, racism and prejudices were still widespread in a city where blacks made up a small portion of the population.
Wilentz, Sean. Chants Democratic: New York City and the Rise of the American Working Class, 1788-1850. New York: Oxford University Press, 2004. xvii + 396pp. Index, appendix, bibliographical essay, illustrations
Hickey, Andrew S. The story of Kingston, First Capital of New York State 1609-1952: New York, Stratford House, 1952
Burrows, Edwin G., and Mike Wallace. Gotham: A History of New York City to 1898. New York: Oxford UP, 1999. Print.
In 1860, there were several different directions NYC could go. One option would be to stay firm and represent the ideals of capitalism, freedom, and liberty, which had made the city so strong. To side with the nation that their grandparents had liberated ...
The Nighthawks by Edward Hopper is considered two-dimensional art. Some examples of two dimensional art is paintings, drawings and photographs. This painting is considered two-dimensional art because it was painted on a flat canvas and can only be observed in terms of height and width. This piece is not considered three-dimensional because it does not occupy space or have mass. Although this painting does not occupy space, it does imitate three-dimensional space or depth.
In this style, everything is clear like a movie scene or a picture taken by a professional photographer. Robert Henri teachings inspired Hopper to embrace realism in his art. Edward Hopper likes to paint everyday scenes, and he uses shops, homes, and hotels for inspiration. In Nighthawks 1942 by Edward there is a couple and a single man at the counter meanwhile there is another grabbing something under the counter. You can see the people through the glass window. You can also the dark street and buildings around the restaurant. It was made by using oil on
Although many interpretations are made in regard to the painting, Nighthawks reflects a contextual interpretation through alienation. In the painting, you view the figures as separate from the outside world, nestled in the center of the diner and surrounded by huge glass windows with florescent lighting beaming down on them. They are all victims of an apathetic world, lonely, and isolated. There is also no communication amongst the characters - even though they are not psychically isolated, they are emotionally. There 's also no door shown that would allow the observer conceivable entrance into the lonely nightlife. Also, the streets outside are completely empty, offering those inside no comfort within the enclosed diner, an indictment of detachment. Overall, this painting reflects an honest and uncompromising outlook of the world in the heart of a devastating era, full of war and
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
historical interactions shaped by an ocean of economic tides. It has been both blessed and scorned by its’ centuries of existence, both praised and cursed by its’ generations of inhabitants, seen both repetition and divergence, but one notion is certain: its’ evolution is perpetual. This analysis serves to journey through the vast history of Philadelphia, evaluating its’ economic successes and failures, while simultaneously gaining an understanding of how these outcomes shaped its’ evolutions as a city. The journey begins at the birthplace of Philadelphia, well before
Vincent van Gogh’s development in stylized representations of nature, created by the application of dark colors, bold lines, and thick paint all show an expressionistic view of the natural world as seen through the eyes of the artist. While we will never find a definite answer for whether or not Vincent van Gogh intended for Wheat Fields with Crows to be any indication of his suicide, we continue to draw on conclusions of what this painting really meant. Even though we can say with certainty that this was not Vincent van Gogh’s last painting, the subject matter and formal elements suggest that it probably was - intended or not - some indication of van Gogh’s unhappiness.
Over the 20th century, Mollenkopf and Castell (1992) argued New York City has become a poorer, smaller and in some respects less economically important part of the nation. Simultaneously, the global city has remained dominant in thriving economic activities often associated with the international economy. Ultimately, the city has had a long history of concurrent growth and decay. To provide an in-depth analysis of New York’s economic development path, the essay will focus specifically on the economic developments and challenges between 1940’s and 1990’s. Analysis will be focused on three distinct phases and will examine the role of New York as an economic global city. The first of these phases is the recovery after the Second World War and the role manufacturing