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Portfolios%20%3D%20%222553%22%20and%20Sort_Artist%20%3D%20%22Hopper,%20Edward%22
Print
Night in the Park
Edward Hopper, 1882 - 1967
Hopper, Edward
United States
1882 - 1967
Male
12 3/8 x 16 1/4 in. (31.5 x 41.3 cm)
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sheet
sheet
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image
image
Printer's ink
Printer's ink
1921
1921
1921
1900-2000, 20th century, American Scene/Regionalism, cityscapes, etchings, night
Print
In 1921, when this print was created, Edward Hopper was a relatively unknown artist who had sold a few paintings but had not begun to receive the acclaim that would be his within a few years. By 1931, when it was exhibited at MAG and acquired with funds donated by a relative of the Watson family, Hopper had become HOPPER; the Museum of Modern Art had purchased one of his paintings the year before. While MAG does not own any of his canvases, we are fortunate to own this print and one other from Hopper’s decade of printmaking, 1915–1924.
The cinematic quality of Hopper’s paintings is evident even in his etchings. A shadowy figure placed at the far end of a line of benches could easily be a character from a Hollywood “film noir.”
[Label text from It Came From the Vault exhibition, 2013]
lower right
1931.26
item
Memorial Art Gallery
9/8/1999
31.26SL1
slide
full
2 x 2
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negative
2 x 2.5
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glossy
8 x 10
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31.26DI1
digital image
full
2 x 2
00/00/00
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31.26DI#2
digital image
9/6/2012
http://127.0.0.1:5000/Media/images/31.26_A2.jpg
Print
Night Shadows
Edward Hopper, 1882 - 1967
Hopper, Edward
United States
1882 - 1967
Male
10 5/8 x 13 3/16 in. (27 x 33.5 cm)
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sheet
sheet
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image
image
Printer's ink
Printer's ink
1921
1921
1921
1900-2000, 20th century, American Scene/Regionalism, cityscapes, etchings, night
Print
Edward Hopper’s prints, like those of Martin Lewis, have a strong relationship to cinematic film noir. The artist gives us the sense that we are unseen watchers observing clandestine activity, and we have a feeling of unease. Strongly contrasting light and dark areas and sharp diagonal lines heighten these precarious and anxious feelings.
Who are these people? Are they city dwellers or newcomers? As Jonathan Franzen wrote in a 1966 essay in the New Yorker, “There’s no better way of rejecting where you came from, no plainer declaration of an intention to reinvent yourself, than moving to New York.” Hopper’s work suggests how the city’s cloak of anonymity makes Franzen’s statement possible.
[Label text, 2003]
lower right
1989.52
item
Memorial Art Gallery
9/8/1999
glossy
8x10
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glossy
2 x 2
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negative
2 x 2
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89.52DI1
digital image
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negative
2 x 3
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89.52SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
NightShadows.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/NightShadows.tif
89.52DI#2
digital image
2/13/2015
http://127.0.0.1:5000/Media/images/89.52_A2.jpg