scholarly journals Corredor-Matheos y Edward Hopper (con Carmen Martín Gaite al fondo). Habitación de Hotel

Prosemas ◽  
2020 ◽  
Vol 5 ◽  
pp. 185-205
Author(s):  
Laureano Bonet
Keyword(s):  
Carmen Martin Gaite ◽  
Edward Hopper

El cuadro de Edward Hopper Habitación de hotel dejó honda huella en José Corredor-Matheos y Carmen Martín Gaite, pertenecientes al mismo grupo generacional aunque con usos estilísticos dispares. Su reacción ecfrástica ante este óleo vendría facilitada por el hecho de que Hopper fue un «pintor para literatos», según lo confirman las numerosas recreaciones poéticas y narrativas de sus cuadros. En el poema «Qué soledad aflige» (2007), Corredor-Matheos se acerca a Habitación de hotel por medio de una escritura ajena a cualquier señuelo mimético, resaltando la abstracción y esencialidad del cuadro: una tensión helada. Por su parte, Martín Gaite —cuyo realismo es subjetivo y emocional— psicologizará este lienzo en «Todo es un cuento roto en Nueva York» (1993) y en la conferencia Hopper. Habitación de hotel (1996). Pese a dicha disparidad escritural, anida en ambos autores una misma respuesta: el ser humano malvive en un mundo inhóspito, que le intensifica la soledad, la angustia y la alienación.

Edward Hopper: Plates

Art Journal ◽  
1981 ◽  
Vol 41 (2) ◽  
pp. 118-124
Keyword(s):  
Edward Hopper

Edward Hopper: An Intimate Biography

1996 ◽  
Vol 54 (2) ◽  
pp. 245
Author(s):  
Nolan Miller ◽  
Gail Levin ◽  
Mark Strand ◽  
Lloyd Goodrich
Keyword(s):  
Edward Hopper

8. Infrared Reflectography of Edward Hopper’s High Noon: Questions of Authentication

2018 ◽  
Author(s):  
Ian E. Longo
Keyword(s):  
Near Infrared ◽  
Early American ◽  
Edward Hopper ◽  
Private Collection ◽  
The Media ◽  
Catalogue Raisonne ◽  
Infrared Reflectography ◽  
Shed Light ◽  
Ir Reflectography ◽  
High Noon

An unprovenanced oil study, purportedly by the early American realist Edward Hopper (188* -1967), was purchased in 2007 on eBay by a pair of brothers from Ontario. It is a smaller, poorly-executed near-copy of Hopper’s High Noon at the Dayton Art Institute. Given that detailed diary entries by Hopper’s wife, Josephine, note only that four charcoal sketches preceded the final version of High Noon, and fail to mention an oil study, Gail Levin, the author of Hopper’s catalogue raisonné, has conservatively concluded that it can at best be assigned to a dedicated follower. Can Infrared Reflectography of the two paintings shed light on the question of authenticity? Many pigments used by Hopper become transparent in the Near Infrared spectrum, a fact verified by a test-panel. By using a DSLR camera, converted to detect IR, charcoal sketches on the primed canvas of the original were revealed. While IR Reflectography reveals earlier stages in the composition of the authentic High Noon, stages suggested by the charcoal sketches, IR does not provide positive proof for the authenticity of the oil sketch. The issue of authenticity became further complicated when the media, led by the Globe and Mail, took up the case of the owners and overstated the IR results. At present the IR investigation suggests only that the oil study was painted by a follower working from either Josephine’s diary or, more intriguingly, from Hopper’s own sketches, which are held in a private collection.

scholarly journals O Olhar Alheio: Percepção e Expressão em T. S. Eliot e Edward Hopper

2015 ◽  
Vol 13 (2) ◽  
pp. 34-52
Author(s):  
E.F. Tavares ◽  
A.C. Aguiar
Keyword(s):  
Edward Hopper
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