HOPPER'S ELEVEN —COLLECTOR´S EDITION—
The American Artist
Collector’s edition limited and numbered to 999 copies worldwide.
Each edition contains :
+ 11 iconic Hopper paintings reproduced in art prints (printed on Favini plus 350 grams art paper).
+A yellow cloth case with silver stamping and 240 grams wibalin, in 17 x 24 inches.
+ One booklet.
+ A certificate of authenticity (COA)
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WORLDWIDE COLLECTOR´S EDITION OF 999 COPIES
Edward Hopper. The painter who inspired cinema.
Alfred Hitchcock, Michelangelo Antonioni, Kenneth Lonergan and Martin Scorsese are examples of some of the film directors to whom Hopper left a great mark that would later be reflected in their films.
A New Yorker by birth (1882) and an artist by vocation, after training as an illustrator, Hopper studied until 1906 at the New York School of Art, where he joined the American figurative tradition, the predecessor of pop art, Hopper first painted in New York, where he grew up and worked as an advertising artist (like Andy Warhol). The works of Velázquez, Francisco de Goya and Édouard Manet were great points of reference for the young artist. He soon traveled to Paris where he was able to imbibe the impressionist language of the time. But “I missed the light of New York, its ramshackle spaces, used, destroyed by woodworm. The beauty of Paris can amaze, but in my case, it could not inspire me,” he would say. He traveled part of a Europe whose lights and shadows inspired him to forge his style.
Hopper abandoned the nostalgia of the old continent to settle in the United States, where he began to capture urban environments always with his characteristic halo of loneliness. Melancholy also accompanied him in his landscape canvases in which he favored the sea and cliffs as a backdrop.
Voyeurism is another of the traits of a painter who loved the observation of everyday circumstances, which he then portrayed, managing to capture the loneliness that gave life to the universe of his characters. All of them endowed with a realism in which pause and silence are appreciated, as if it were a scene.
He was able to give color to solitude and paint silence. Hopper was a man of few words. He spoke little but observed much. This was the basis of his philosophy, as he once said: “Great art is the external expression of an inner life in the artist and this inner life will produce his personal vision of the world. The essential element is imagination and there is no level of artificial invention that can replace it.”
He was over 40 years old when he held his first solo exhibition in a gallery. Ten years later, in 1933, the Museum of Modern Art (MoMA), founded four years earlier and then housed in an office building, organized an exhibition that gave him the decisive push to national recognition.
In six decades Hopper created a total of 335 paintings, along with other works on paper. The painter worked slowly and scrupulously. He took a long time to choose a motif and decide whether it was worth portraying.
This artist and great film buff was also inspired by the Hollywood films of the 1930s and 1940s. Many of his paintings had a strong influence on a multitude of frames and scenes of renowned directors of the seventh art, who found in Hopper an artist with a gift for composition on a cinematographic level.
To this day Edward Hopper continues to be one of the most recognized painters in the history of 20th century art. A great portraitist of mid-century America and a virtuoso of modern expression, he was able to capture urban environments and landscapes, imbuing them with the sense of solitude that makes them unique.
THE ELEVEN WORKS
Hopper eliminates any reference that allows us to know where to enter the restaurant; he allows the viewer to contemplate, but not to enter. Thus he turns the four characters, lovers of the night, into anonymous beings for us and, although some of them find the closeness of their bodies, they are distant beings from each other.
It has been a constant as a reference of the cinematographic world. Specifically, Ridley Scott obsessively showed his production and photography team of Blade Runner this painting so that his film could soak up its light, its atmosphere and be able to transfer its color palette to the screen.
We observe in the center three bright red pumps that immediately catch our attention. And next to the first one a man, as if in the background. A man alone in the middle of the gas station and that wide wooded landscape in which the scene is framed. A road crosses the canvas diagonally into the forest. An even disturbing approach. It is a scene that conveys loneliness but also the feeling that something is going to happen next, in an image that we can define as very cinematographic.
Its original title was "Seventh Avenue Shops." The addition of the word "Sunday" to the title was added by someone else, as the author had no recollection of the visit being on that particular day of the week.
In the following years there was some controversy because it was commented that Hopper's wife, Josephine, modeled for the two women in the painting. But all this, perhaps because of the fame the painter already treasured, was disputed by Hopper's neighbors, Marie Stephens and his teenage daughter Kim, who argued that the young woman must have been based on one of them, citing the size of the bust of the woman depicted.
Hopper considered this painting one of his favorites.
It is his wife, Jo, who posed as a model, standing under a lamp in the foyer of their apartment, as is the case with almost all the female figures in Hopper's paintings.
According to the numerous preliminary studies that exist for this painting, we can be sure that the artist not only drew his wife in several different poses for this work, but he also designed with precision the decoration of the auditorium, down to the drawing of the carpet. He also drew on several occasions the auditoriums of his favorite cinemas, such as the Strand, the Palace or the Globe.
The theater he depicts here is the Palace Theater in Times Square (well, mostly, because he also added details of other theaters to make it more beautiful).
The sense of voyeurism, as well as the dim light that permeates much of the artist's work, are also present here.
In the painting, Hopper captured the bright summer day with a vibrant color palette, paying attention to the architectural details of the house, and to the shrubs in the garden which, with the stairs, echo the forms of the house. He layered the colors to show the sunlight on the house and the shadows, which emphasize the prominent, recessed forms of the house.
Of this painting, the artist stated, "It is not a transcription of a place, but a reconstruction from sketches and mental impressions of things in the surroundings. . . . The dry, blowing grass can be seen from my studio window in late summer or autumn. In the woman I tried to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill [sic] or some night sound."
According to his wife, the painting was originally to be titled "Whippoorwill," after the nocturnal bird known for its distinctive song.
Hopper eliminates any reference that allows us to know where to enter the restaurant; he allows the viewer to contemplate, but not to enter. Thus he turns the four characters, lovers of the night, into anonymous beings for us and, although some of them find the closeness of their bodies, they are distant beings from each other.
It has been a constant as a reference of the cinematographic world. Specifically, Ridley Scott obsessively showed his production and photography team of Blade Runner this painting so that his film could soak up its light, its atmosphere and be able to transfer its color palette to the screen.
We observe in the center three bright red pumps that immediately catch our attention. And next to the first one a man, as if in the background. A man alone in the middle of the gas station and that wide wooded landscape in which the scene is framed. A road crosses the canvas diagonally into the forest. An even disturbing approach. It is a scene that conveys loneliness but also the feeling that something is going to happen next, in an image that we can define as very cinematographic.
Its original title was "Seventh Avenue Shops." The addition of the word "Sunday" to the title was added by someone else, as the author had no recollection of the visit being on that particular day of the week.
In the following years there was some controversy because it was commented that Hopper's wife, Josephine, modeled for the two women in the painting. But all this, perhaps because of the fame the painter already treasured, was disputed by Hopper's neighbors, Marie Stephens and his teenage daughter Kim, who argued that the young woman must have been based on one of them, citing the size of the bust of the woman depicted.
Hopper considered this painting one of his favorites.
It is his wife, Jo, who posed as a model, standing under a lamp in the foyer of their apartment, as is the case with almost all the female figures in Hopper's paintings.
According to the numerous preliminary studies that exist for this painting, we can be sure that the artist not only drew his wife in several different poses for this work, but he also designed with precision the decoration of the auditorium, down to the drawing of the carpet. He also drew on several occasions the auditoriums of his favorite cinemas, such as the Strand, the Palace or the Globe.
The theater he depicts here is the Palace Theater in Times Square (well, mostly, because he also added details of other theaters to make it more beautiful).
The sense of voyeurism, as well as the dim light that permeates much of the artist's work, are also present here.
In the painting, Hopper captured the bright summer day with a vibrant color palette, paying attention to the architectural details of the house, and to the shrubs in the garden which, with the stairs, echo the forms of the house. He layered the colors to show the sunlight on the house and the shadows, which emphasize the prominent, recessed forms of the house.
Of this painting, the artist stated, "It is not a transcription of a place, but a reconstruction from sketches and mental impressions of things in the surroundings. . . . The dry, blowing grass can be seen from my studio window in late summer or autumn. In the woman I tried to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill [sic] or some night sound."
According to his wife, the painting was originally to be titled "Whippoorwill," after the nocturnal bird known for its distinctive song.
FACSIMILE TYPE EDITION
In this volume, a limited edition with a print run of 999 works, The Galobart invites you to discover eleven of his most emblematic works printed on collectible art prints. The collection includes Chop Suey, one of his pieces known for reaching a new record during an auction held in New York: $91.8 million was the final price, far surpassing his previous most valuable work, East Wind Over Weehawken, sold for $40.5 million in 2013, and Hopper’s iconic Nighthawks, Gas and Ground Swell, plus six other pictorial marvels.
The entire collection comes in a limited edition collector’s box, numbered inside, which also includes two small books: one with commentary and articles by artists, collectors and connoisseurs of Hopper’s work and the other by a novelist who imagines conversations and thoughts of the protagonists of Hopper’s paintings.
THE COLLECTOR’S EDITION
Numbered Slipcase
The 11 art prints is delivered inside a slipcase made of a blue cloth case with silver stamping and 240 grams wibalin, in 17 x 24 inches.
The size of the case is 17 x 24 in.
Collection of Limited Edition Art Prints
11 art prints in different formats printed on Favini plus 350 grams art paper.
Certificate of Originality
A certificate of authenticity (COA) is a document that verifies the authenticity of the artwork. In this case, the publisher issues a numbered certificate for each box containing eleven sheets printed on 350-gram art paper.
Our COAs include the artist’s name and details (title, date, support, dimensions) of the artwork.
Each art print also includes the corresponding numbering from 1 to 999 on the back of the sheet.
Separate study Book
Includes a booklet with a summary of Edward Hopper’s life and a synopsis of the eleven works included in this fabulous collection.