Catalog of an exhibition held at the Whitney Museum of American Art, New York, May 23-Oct. 6, 2013; Dallas Museum of Art, Nov. 17, 2013-Feb. 16, 2014; Walker Art Center, Minneapolis, Mar. 15-June 22, 2014.

Edward Hopper holds an important place in twentieth-century American art. In his scenes of urban and rural life--canvases that reveal his rare, highly focused technical accomplishment and his deep psychological penetration--he created indelible images that often convey the loneliness of persons within their environment. Highly individual, instantly recognizable, his works are among the most esteemed in collections of American art. The Whitney Museum of American Art is the biggest repository of works by Edward Hopper. In its collection are a large number of Hopper drawings, powerful works that teach us not only about Hopper's technique and vision but also about the art of drawing itself. This book presents 44 major Hopper drawings, executed in crayon, charcoal, pencil, and other primarily monochromatic media, most of them reproduced directly from originals in the museum's collection. Some of these compelling works are studies for paintings. Many reveal familiar Hopper territory: Manhattan streets, a lighthouse on the Atlantic seacoast, the rural Northeast, and more. This inexpensive edition offers a wonderful opportunity for artists and art lovers to study the unique range and evocative power of Hopper's draftsmanship. Those mastering and refining their drawing skills will discover in these pages a rich source of inspiration and instruction. Dover (1989) original publication.

The complete oils of arguably America's best and probably America's most "American" artist.

Illustrated by over 50 of Edward Hopper's most powerful evocations of New York, Avis Berman's essay explores how Hopper and his work illuminate each other by analyzing what his New York is - and is not. Ever the contrarian, he offers an alternative to what other American artists seized on - the new, the gigantic, the technologically exciting. Hopper stayed away from tourist attractions or landmarks of the city's glamorous skyline. His preference for nondescript vernacular buildings is emblematic of the larger Hopper paradox: he makes emptiness full, silence articulate, banality intense, plainness mysterious, and tawdriness noble.

Edward Hopper's world-famous, instantly recognizable paintings articulate an idiosyncratic view of modern life, unfolding in a world of lonely lighthouses, gas stations, movie theaters, bars and hotel rooms. With his impressive subjects, independent pictorial vocabulary and virtuoso play of colors, Hopper's work continues to this day to color our memory and imaginary of the United States in the first half of the 20th century. Hopper began his career as an illustrator and became famous around the globe for his oil paintings. These paintings testify to the artist's great interest in the effects of color and his mastery in depicting light and shadow, at work whether the artist was painting alienated figures in dreamlike interiors or desolate American landscapes. Edward Hopper: A Fresh Look on Landscape is published to accompany a major exhibition at the Fondation Beyeler of Hopper's iconic images of the vast American landscape. The catalog gathers together paintings, watercolors and drawings made by the artist between the 1910s and the 1960s, and supplements them with essays by Erika Doss, David Lubin and Katharina Rüppell, focused on the subject of depicting the landscape.

Edward and Jo Hopper first discovered Vermont in 1927, making day trips from the Whitney Studio Club's summer retreat for New York artists in Charlestown, New Hampshire. In 1935 and 1936 the Hoppers again traveled to Vermont, this time from their summer home in Cape Cod, in Edward's continuing search for new places to paint. During these quests they identified the White River and what Edward considered to be Vermont's "finest" river valley, and they returned there for longer visits in 1937 and 1938, boarding at Robert and Irene Slater's Wagon Wheels farm in South Royalton. These "vacations" were a change from the usual tempo of their lives, a break from the studio-bound easels, canvas, and oils, and an opportunity to paint something different, to be in a new place and paint en plein air. Over the course of his Vermont sojourns, Edward Hopper produced some two dozen paintings, watercolors that are among the most distinctive of his regional works, strongly characterized by place. In this accessible volume, Bonnie Tocher Clause tells the story of the Hoppers' visits to Vermont, their stays on the Slater farm, and their introduction to farm life. She locates the sites shown in Hopper's Vermont paintings, identifies two watercolors not previously recognized as Vermont scenes, and traces the development of Hopper's singular interpretations of the Vermont landscape. In Edward Hopper in Vermont, Clause details the provenance of the Vermont paintings through the years, tracking the history of sales leading to the works' ultimate homes with private collectors and museums. Showcasing all the Vermont paintings in color, this volume will delight both fans of Hopper's work and those who are fascinated by the story of the creation, collection, and business of producing great art.

In his ledger books, Edward Hopper recorded paintings made and sold, accountings made and payments received, materials used and subjects considered. Juxtaposing selected ledger pages with reproductions of the respective paintings, this original Schirmer/Mosel publication documents the making of and fate of Hopper's most revered works.

This book explores the development of modern American art through the works of its signature artists. This collection of rarely seen masterpieces from The Phillips Collection traces the development of American art from Impressionism to Abstract Expressionism. During the Gilded Age, American artists like Julian Alden Weir, John Henry Twachtman, Ernest Lawson, and others developed landscape paintings which set the course for modern art in America. Revelations such as these are common within the pages of this book, which examines Duncan Phillips's interest in collecting and his promotion of living artists. Including essays by European and American experts, this publication of 68 works by 50 artists presents paintings by Maurice Prendergast, Arthur Dove, John Marin, Georgia O'Keeffe, Helen Frankenthaler, Robert Motherwell, Jackson Pollock, Charles Sheeler, Winslow Homer, Marsden Hartley, and Richard Diebenkorn. Together these magnificent works tell the tale of a nation and artistic expression growing in confidence and diversity.

This exhibition sets the art of Edward Hopper in the context of the diverse and controversial movements dominating American art during the first half of the twentieth century.

From "Art Deco to "Edward Hopper, Mary Cassatt to "Crandma Moses, this beautifully illustrated series explores the lives and work of famous American artists and schools of style. A visual celebration, the combination of color plates, photographs, and informative text will delight art lovers everywhere. Noted author Sherry Marker explores the realism and poetry of Hopper's work, while sketching in details of the artist's life and providing incisive introductions to nearly 70 full color reproductions.