The Characteristics of Painter Lim Gunhong’s Commercial Art

Edward Hopper was known for his realist paintings of American life in the 1930s through to the early 1960s. Born in Nyack, New York, north of Manhattan and across the Hudson river, his family was successful and solidly middle class. Although his parents supported his study of art after his 1899 high school graduation, their conservative viewpoints informed the trajectory of his efforts; they encouraged him to seek a career in commercial art so that he would have a reliable income. He enrolled in the Correspondence School of Illustration in New York City, supporting himself as an illustrator until 1925, creating over five hundred works. From 1900 until 1906 he studied at the New York School of Art with Robert Henri, whose admiration for European artists inspired Hopper to travel abroad, which he did three times during his early career (1906, 1909, 1910). Hopper also studied with William Merritt Chase, and Kenneth Hayes Miller, and was determined to succeed as a fine rather than commercial artist. It was in these classes that he met friends like Rockwell Kent, Guy Pène du Bois, Reginald Marsh and Stuart Davis, who would become important figures in the art world of the time, as well as his future wife, Josephine Nivison, whom he married in 1924. It was during these early years that Hopper began to exhibit his works at the Whitney Studio Club in New York, the precursor to the Whitney Museum of American Art. In 1920, Hopper had his first one-person exhibition at the Whitney Studio Club, and it foreshadowed his future relationship with that institution.

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The Grand Tour on Bond Street: Cosmopolitanismand the Commercial Art Gallery in Victorian London

Visual Culture in Britain ◽

10.1080/14714787.2011.575264 ◽

2011 ◽

Vol 12 (2) ◽

pp. 139-153 ◽

Cited By ~ 3

Author(s):

Pamela Fletcher

Keyword(s):

Art Gallery ◽

Grand Tour ◽

Commercial Art

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The Courtly and Commercial Art of the Wycliffite Bible by Kathleen E. Kennedy

Parergon ◽

10.1353/pgn.2016.0161 ◽

2016 ◽

Vol 33 (3) ◽

pp. 239-239

Author(s):

Thomas A. Fudge

Keyword(s):

Commercial Art

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Pen and mouse: commercial art and digital illustration

Choice Reviews Online ◽

10.5860/choice.39-1988 ◽

2001 ◽

Vol 39 (04) ◽

pp. 39-1988-39-1988

Keyword(s):

Commercial Art

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Feminized Commodities, Female Communities

French Historical Studies ◽

10.1215/00161071-8018483 ◽

2020 ◽

Vol 43 (2) ◽

pp. 223-252

Author(s):

Susan Hiner

Keyword(s):

Nineteenth Century ◽

Critical Analysis ◽

Fine Arts ◽

Commercial Production ◽

Work Practices ◽

Fashion Industry ◽

Female Community ◽

Commercial Art ◽

Nineteenth Century France ◽

Comme Point

Abstract This article uncovers the backstory of two of the most important fashion-plate illustrators of nineteenth-century France, Héloïse and Anaïs Colin, in relation to their artistic and commercial production. By exploring how the sisters' commercial art is linked to their early “self-portrait,” produced in the studio of their artist father, in which female community is foregrounded, the article argues that their fashion plates express at once a personal response to their exclusion from the male-dominated world of fine arts and a pragmatic trajectory toward professionalization for women in the fashion sector. While largely conventional, some of their plates elicit readings reaching beyond an explicit commercial aim and suggest disruptions of the seamless norms of bourgeois femininity. Likewise, critical analysis of these plates expands to a consideration of the layered work practices of other women in the growing fashion industry of the period. Cet article offre un portrait de deux des plus importants illustrateurs de mode français du dix-neuvième siècle, Héloïse et Anaïs Colin, replacé dans le contexte plus large de leur production artistique et commerciale. Comme point de départ, il prend l'autoportrait de jeunesse des deux sœurs, peint dans l'atelier de leur père, un tableau qui met en valeur leur idée de communauté féminine tout en préfigurant aussi leur art commercial. Leurs gravures de mode expriment à la fois leur réponse personnelle à leur exclusion du monde masculin des beaux-arts, tout en reflétant aussi leur parcours, alors représentatif de la professionnalisation des femmes dans le domaine de la mode. Bien que conventionnelles pour la plupart, certaines des gravures suscitent une interprétation qui dépasse le cadre de la question commerciale et aborde celle de la transgression de la norme de la féminité bourgeoise. Plus loin, l'analyse critique de ces gravures touche plus largement aux pratiques complexes du travail réalisé par d'autres femmes dans l'industrie croissante de la mode.

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