"Σύγχρονοι τοπιογράφοι. Αττική 2015"

δύο διευθύνσεις που περιέχουν όλες τις βασικές πληροφορίες για τον Edward Hopper
1882-1967:
http://www.parallaximag.gr/parallax-view/o-hoper-kai-i-epohi-toy
http://www.gardenofpraise.com/art56.htm
Ο Έντουαρντ Χόπερ (1882-1967) ζωγράφισε ένα πορτραίτο των ανθρωπίνων σχέσεων της Αμερικής στην αρχή του περασμένου αιώνα, των ανθρώπων που φορούν τη μοναξιά σα δεύτερο ρούχο. Οι πίνακές του έχουν την απατηλή απλότητα των μύθων κι έχουν ερμηνευθεί με τους πιο αντιφατικούς τρόπους: ο Χόπερ έχει χαρακτηριστεί ως ρομαντικός, ρεαλιστής, ακόμα και φορμαλιστής.



Πηγή: www.lifo.gr

http://www.lifo.gr/team/pinakothiki/33599

Η έκθεση του έργου του Χόπερ (αναφέρεται στην μεγάλη αναδρομική έκθεση, που φιλοξενήθηκε στο Grand Palais του Παρισιού http://www.grandpalais.fr/). Η έκθεση χωρίζεται σε δύο μέρη: Στο πρώτο παρουσιάζονται τα πρώιμα έργα του ζωγράφου από τις αρχές του 20ου αιώνα (1900-1924), στα οποία συμπεριλαμβάνονται και εκείνα που φιλοτέχνησε όταν ζούσε στο Παρίσι και στο δεύτερο μέρος παρουσιάζονται τα έργα (1924-1966) με τα οποία έγι - See more at: http://www.parallaximag.gr/parallax-view/o-hoper-kai-i-epohi-toy#sthash.fvRsykr7.dpuf)  αποτελεί μιας πρώτης τάξεως ευκαιρία να καταγραφεί αυτή η εντυπωσιακή μετάβαση της αμερικάνικης τέχνης, από τα αριστοκρατικά πορτραίτα του 19ου αιώνα στη μοντέρνα ζωή. H γέννηση του κοινωνικού ρεαλισμού, σε μια παράλληλη πορεία μεγάλων καλλιτεχνών όπως οι John Sloan, Alfred Stieglitz, Edward Steichen, Paul Strand, Charles Demuth, Guy Pène du Bois, Charles Sheeler, Ben Shahn, Reginald Marsh, είναι η διαδρομή που επιλέγει η επιμελήτρια Barbara Haskell για να αποδείξει περίτρανα πως τα βήματα τους συναντήθηκαν σε καιρούς αβέβαιους, σχεδιάζοντας σκοτεινές εικόνες παράλληλες με τα πολτικά κινήματα που ανέτειλαν στη χώρα, την πτώση του 29, την ασφυξία που αποτυπώνουν με τα χρώματα τους. Τα δραματικά μοτίβα που συναντά κανείς στα έργα των περισσότερων από αυτούς στην πρώτη περίοδο που μελετά η έκθεση, την αρχή του εικοστού αιώνα. - See more at: http://www.parallaximag.gr/parallax-view/o-hoper-kai-i-epohi-toy#sthash.fvRsykr7.dpuf


Paul Strand
Treating the human condition in the modern urban context, Strand's photographs are a subversive alternative to the studio portrait of glamour and power.

Strand's vision of the city during these years often focuses on the problematic exchange between the sweep and rigor of the urban grid with the human lives that inhabit and pass through it. From the El is a good example of this dialectical approach, with the graphic power of the ironwork and street shadows punctuated by the tiny, lone pedestrian at the upper right. Strand addresses the effects of the new urban condition obliquely here, embedding a subtle political statement within the formal structure of the image.


(1890 – 1976) was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe and Africa.

Born in New York City to Bohemian parents, in his late teens Strand was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. It was while on a fieldtrip in this class that Strand first visited the 291 art gallery – operated by Stieglitz and Edward Steichen – where exhibitions of work by forward-thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously. Stieglitz would later promote Strand’s work in the 291 gallery itself, in his photography publication Camera Work, and in his artwork in the Hieninglatzing studio. Some of this early work, like the well-known “Wall Street,” experimented with formal abstractions. Other of Strand’s works reflect his interest in using the camera as a tool for social reform. He was one of the founders of the Photo League, an association of photographers who advocated using their art to promote social and political causes.

Over the next few decades, Strand worked in motion pictures as well as still photography. His first film was Manhatta (1921), also known as New York the Magnificent, a silent film showing the day-to-day life of New York City made with painter/photographer Charles Sheeler. Manhatta includes a shot similar to Strand’s famous Wall Street (1915) photograph. Other films he was involved with included Redes (1936) (released in the US as The Wave), a film commissioned by the Mexican government, the documentary The Plow That Broke the Plains (1936) and the pro-union, anti-fascist Native Land (1942).

In June 1949, Strand left the United States to present Native Land at the Karlovy Vary International Film Festival in Czechoslovakia. It was a departure that marked the beginning of Strand’s long exile from the prevailing climate of McCarthyism in the United States. The remaining 27 years of his life were spent in Orgeval, France where, despite never learning the language, he maintained an impressive creative life, assisted by his third wife, fellow photographer Hazel Kingsbury Strand.

Although Strand is best known for his early abstractions, his return to still photography in this later period produced some of his most significant work in the form of six book ‘portraits’ of place: Time in New England (1950), La France de Profil (1952), Un Paese (featuring photographs of Luzzara and the Po River Valley in Italy, 1955), Tir a’Mhurain / Outer Hebrides [1] (1962), Living Egypt (1969) and Ghana: an African portrait (1976).   http://lumieregallery.net/wp/197/paul-strand/

While he was in high school in New York City, Paul Strand studied photography with Lewis Hine, the social reformer and photographer. He also frequented Alfred Stieglitz's Little Galleries of the Photo-Secession—later known as "291" for its address on Fifth Avenue—where he quickly absorbed the lessons of modern European art through the work of Picasso, Brancusi, and Cézanne, among others. In 1916, Strand made a series of candid street portraits with a handheld camera fitted with a special prismatic lens, which allowed him to point the camera in one direction while taking the photograph at a ninety-degree angle. This seminal image of a street beggar was published in 1917 as a gravure in Stieglitz's magazine Camera Work and immediately became an icon of the new American photography, which integrated the objectivity of social documentation with the boldly simplified forms of modernism.

Ο φίλος του και συνεργάτης του Charles Burchfiled,
(http://whitney.org/Exhibitions/CharlesBurchfield/Images)

ο μοναδικός συνοδοιπόρος, ο άνθρωπος με τον οποίο συζητούσε για τα πάντα.  

Και μια σειρά πρόσωπα που αποτέλεσαν τους ανθρώπους που συνδιαλέχτηκε στη διαδρομή της τέχνης και της ζωής του. Αλλά και ένα ολόκληρο σύμπαν έμπνευσης που δημιουργήθηκε από την εντατική παρατήρηση του κόσμου γύρω του αλλά και των εικόνων που δημιούργησε, οι άνθρωποι που επηρέασε και επηρεάστηκε. Από τον Άλφρεντ Χίτσκοκ ως τους social realists. (https://www.google.gr/search?q=social+realists+art&espv=2&biw=1242&bih=545&source=lnms&tbm=isch&sa=X&ei=i63TVPOQGsf0Utb_geAC&ved=0CAYQ_AUoAQ)


Grant Wood, American Gothic, 1930. American Gothic has become a widely known (and often parodied) icon of social realism.

μια παράλληλη πορεία μεγάλων καλλιτεχνών όπως οι
John Sloan,
Alfred Stieglitz,

Alfred Stieglitz was an American photographer born on 1st January 1864, Hoboken, New Jersey. Son of Jewish immigrants from Germany he studied at Charlier Institute, one of the best school in New York. He studied at a public school so that he can attend City College, where one of his uncles taught.
Edward Steichen,

Edward Steichen: Painting Or Photography ?
Overshadowed by his photographs, the tonalist paintings of Edward Steichen have fallen into a black hole, victims of aesthetic snobbishness.  The poetry of his early landscapes has been under-appreciated in most accounts  as has the importance of painting to his overall aesthetic.  Steichen once appraised his style, to “make things disappear and seem to melt into each other,” resulting in “a great feeling of peace overshadows all.”   And that style was formed during a childhood in the Midwest.  The small wood lots of Milwaukee where he took his first photographs taught him the magic of enclosed spaces, “hemmed in by scrims of shadows that hint at the limits of perception.”  
http://thebluelantern.blogspot.gr/2014/01/edward-steichen-painting-or-photography.html

Paul Strand,
Charles Demuth,

Guy Pène du Bois,

Charles Sheeler
,

Reginald Marsh, Sepia ink drawing in the manner of Reginald Marsh, depicting a urban circus scene with outdoor performers and clown with a line of patrons. Initialed and dated in the plate ZD(?), 1927. Ink drawing on brown card stock, mounted on larger card stock. Cardstock with drawing measures 7 1/2" H x 12" W. Overall – 12 1/4" H x 15" W. Provenance: estate of Francis Edward Faragoh (1898-1966), American screenwriter. Condition: Overall toning with scattered spotting.

- See more at: http://caseantiques.com/item/lot-154-sepia-ink-drawing-in-the-manner-of-reginald-marsh/#sthash.EpRHd7xF.dpuf


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είναι η διαδρομή που επιλέγει η επιμελήτρια Barbara Haskell - See more at: http://www.parallaximag.gr/parallax-view/o-hoper-kai-i-epohi-toy#sthash.BAR1xlKt.dpuf

http://aftenlandet.livejournal.com/

of shapeshifting and neon lights