Museum-quality reproduction of iconic masterpiece: ►Sunday by Edward Hopper in 1926 ►Original Size: 86.36 x 73.66 cm (29 x 34 in) ►Medium: Oil on Canvas ►Made to Order ►100% hand-painted replica painting by our skilled artist ►Signature: finished painting unsigned ►Rolled canvas with no frame not stretched: rolled and shipped in a protective tube ►Creation time: about 3-4 weeks ►No watermarks on the finished painting ►Due to lighting effects and screen brightness/contrast settings, the color tones of the listing photos and the finished painting may vary slightly ►Please email to support [!at] bcsgallery.com if you would like to have custom order/framing ►Worldwide FREE shipping ►We cannot deliver to PO Box or APO addresses ►Tracking available All the replica paintings in our shop are painted by our highly skilled artists. Art enthusiasts now have the unique opportunity to own an iconic masterpiece reproduction produced by our highly skilled artist at BCS Gallery. Our artist stands ready to recreate classic paintings by hand, using only high quality oil paints on canvas. Attention to detail is our middle name. We use only the finest oil paints to create your work of art. Each reproduction painting is hand-painted with love. www.bcsgallery.com
Easily create more atmosphere in the room with this beautiful Edward Hopper Sunlight in a Cafeteria Art Print 40x30cm. A great decorative addition that is definitely not to be missed. The print is of the highest quality, so the colors and details of the beautiful landscape really come into their ...
Museum-quality reproduction of iconic masterpiece: ►Night Windows by Edward Hopper in 1928 ►Original Size: 86.36 x 73.66 cm (29 x 34 in) ►Medium: Oil on Canvas ►Made to Order ►100% hand-painted replica painting by our skilled artist ►Signature: finished painting unsigned ►Rolled canvas with no frame not stretched: rolled and shipped in a protective tube ►Creation time: about 3-4 weeks ►No watermarks on the finished painting ►Due to lighting effects and screen brightness/contrast settings, the color tones of the listing photos and the finished painting may vary slightly ►Please email to support [!at] bcsgallery.com if you would like to have custom order/framing ►Worldwide FREE shipping ►We cannot deliver to PO Box or APO addresses ►Tracking available All the replica paintings in our shop are painted by our highly skilled artists. Art enthusiasts now have the unique opportunity to own an iconic masterpiece reproduction produced by our highly skilled artist at BCS Gallery. Our artist stands ready to recreate classic paintings by hand, using only high quality oil paints on canvas. Attention to detail is our middle name. We use only the finest oil paints to create your work of art. Each reproduction painting is hand-painted with love. www.bcsgallery.com
A versatile artist indeed popular for his oil paintings, watercolors as well as etchings, Edward Hopper was a realist painter of American descent. The themes of his works of art mostly featured the rural and urban scenes of American life. Gas stations, street scenes, motels, hotels, rooms, theaters, restaurants, and seascapes were the common themes […]
Art Print of the Painting by Famous Artist Edward Hopper named The Nighthawks. Fabulous work of art now available. This would be lovely in any room of your home or office. Cafe theme at night. All prints are on Epson Premium Enhanced Matte paper. 2 sizes available in drop down menu.
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The Edward Hopper Drawing exhibition at the Whitney Museum of Art offers an interesting insight into the creative process of one of America’s most celebrated painters of the 20th Century....
Museum-quality reproduction of iconic masterpiece: ►Two Comedians by Edward Hopper in 1966 (Hopper's final piece at the Bruce Museum) ►Original Size: 29 x 40 inches (73.7 x 101.6 cm) ►Medium: Oil on Canvas ►Made to Order ►100% hand-painted replica painting by our skilled artist DF ►Signature: finished painting unsigned ►Rolled canvas with no frame not stretched: rolled and shipped in a protective tube ►Frame not included ►Creation time: about 3-4 weeks ►No watermarks on the finished painting ►Due to lighting effects and screen brightness/contrast settings, the color tones of the listing photos and the finished painting may vary slightly ►Please email to support [!at] bcsgallery.com if you would like to have custom order/framing ►Worldwide FREE shipping ►We cannot deliver to PO Box or APO addresses ►Tracking available BCS Art Gallery www.bcsgallery.com
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At the Walker Art Center in Minneapolis, a new exhibition and a novella delve into the inexplicable sense of mystery in Hopper’s paintings
When New Yorkers still walked the streets, Martin Lewis (1881–1962), an Australian-born printmaker specialized in scenes of early 20th century New York City. He began making painted stage decorations for William McKinley’s 1900 presidential campaign. By 1909, he was living in New York City, where he produced commercial illustration. His earliest etchings is 1915 but he had been working in the medium before this. It was during this period that he helped teach the American arti
Every good teacher must be prepared for the students who surpass them. Such was the case with Martin Lewis, Edward Hopper's onetime teacher, an Australian-born printmaker who left rural Victoria at age 15 and traveled the world before settling in New York City in 1900 to make his fame and fortune.
You don’t have to search too hard to find plenty of examples of the influence artist Edward Hopper has had on popular culture. Tom Waits, Joyce Carol Oates, Ridley Scott, Madonna and Alfred H…
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13 Edward Hopper Paintings Are Recreated As Sets For Indie Film
I published, about 10 days ago, an article on Edward Hopper and promised to return to this subject shortly, so here we are. As a form of alternative to Hopper's painting of city life and cityscapes, with those clearly defined lines and forms, the highly contrasting tones with bright, diagonal, often very theatrical lighting and deep, menacing shade, as well as the paradoxical loneliness of the scenes shown (yes, we are so alone but yet with so many people all around in the big city!), there is also his equally realistic and demanding take on landscapes and seafronts along the windblown north-eastern coast of the USA. But, despite the feeling of rural tranquillity that so often pervades these works, Hopper was never afraid of introducing the 20th century and its mechanical inventions into that rural scenery, almost as a way of using strong contrasts, just as he did with his works showing both the inside and outside of buildings, light and shade, intense against subdued colurs, and so on. These contasts I tried to show, to some extent, in the previous article. The watercolour below is a good example of this organic/mechanical antithesis and it does not shirk the fact that there is something ominous in the encroachement of man and his objects into the natural world. As indeed is shown in the above engraving, where nature is literally cut in two by the railroad. Hopper is, to me, a master of engraving, and perhaps even more so than that of oil painting or watercolours. The above engraving, which I find admirable, is not of the rural category as to its subject matter. But it perfectly illustrates Hopper's skills as a draughtsman and engraver. The composition leans on the dynamics provided by diagonals, held in check and balance by vertical lines and the rythm inherent to the framework of the subject (a subway train at night) whilst adding intensity to the central subject (a man and a woman engaged in conversation). The use of black and white, and the nuances of shading that bridge the gap of these contrasts, are also very finely handled. Drama and intimacy are latent in both subject matter and the composition that serves this. This one, which is clearly part of the meticulous build-up of preparatory studies that led Hopper to his Nighthawks masterpiece, uses the diagonal element in composition almost to an extreme and to the point of imbalance. What finally holds it together is the solitary human figure in the foreground. If we take a closer look at certain of his engravings, the influence of the great masters of the past, such as Rembrandt, become very clear. And to what extent the use of strong side-lighting produces both contrasts and dynamics in the whole composition. Strong lighting is a regular feature of Hoppers paintings as well and this can have an artificial as well as a natural source. In this sense, Hopper shows very clearly the interactions between his painting and contemporary cinematography. I mentioned Lang and Hitchcock in my previous article, but they are not the only examples. And the way the subject matter is treated has an obvious cinematogaphic feel to it. In the above painting, one can image the scene before, just as well as the one to follow. In this painting too, one is intensely aware of possible scenarios into which it slots. In fact someone once said of this painting that you can imagine in that the bank robbers have just left to commit their hold-up, having filled up with gas served by the man at the pump who barely looked at them as he cleaned the car's windshield before closing down his station. Another painting that also shows just how daring Hopper could be in his compositions is this one, which again clearly illustrates the apparent antagonism between the city and the country, the man-built and the natural, the well-lit and conforting against the dark and menacing. His way of cutting off part of the building, both horizontally and laterally, is reminiscent of the use of a zoom on a camera. As I started this article by talking about Hopper's vision of rurality, I should perhaps finish with one of his paintings in which neither man nor man-made objects (apart from a suggested track) play any part. Hopper is a painter of apparent tranquillity who manages, somehow, and quite subtly, to distill in most of his work a subterranean dose of anguish that is perhaps part and parcel of the 20th century.
De hoje a 6 de outubro, o Whitney Museum, em Nova York, apresenta Hopper drawing, mostra de desenhos que revelam os estudos, projetos e o processo criativo do pintor Edward Hopper (1882–1967). Taí …
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One of the best exhibitions of the year is currently showing at the Dallas Museum of Art. “Edward Hopper, A Painter’s Process” opened on November 17th and will continue to run until February the 16…
Blog de tendances stylistiques et artistiques
Martin Lewis (7 June 1881 – 1962), the Australian-born American printmakers and artist, is best known for his etchings of New York City. Martin captured the city’s human bustle and brooding architectural menace. We see busy people in sullen places dressed in light and shade. The air tingles at the sense of acute urban … Continue reading "New York City by Martin Lewis – Edward Hopper’s Mentor Captures America’s Success And Failure"
At the Walker Art Center in Minneapolis, a new exhibition and a novella delve into the inexplicable sense of mystery in Hopper’s paintings
"If all you do is draw a figure realistically, we can get the same experience looking at a photograph," says Art critic Deborah Solomon. "We want something more. We want the artist...
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