{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Classic American painter celebrated at US National Museum of Art' data-url='/boclips/videos/5c54c38dd8eafeecae162206' data-video-url='/boclips/videos/5c54c38dd8eafeecae162206' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nClassic American painter celebrated at US National Museum of Art\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eWashington, DC - 11 September, 20071. Wide view of entrance to exhibition as couple goes in2. Detail view of \"Nighthawks, 1942\" - pan from man to woman3. Wide of \"Nighthawks, 1942\"4. Detail pan from cup to face of \"Automat, 1927\"5....\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eWashington, DC - 11 September, 2007\u003cbr/\u003e1. Wide view of entrance to exhibition as couple goes in\u003cbr/\u003e2. Detail view of \"Nighthawks, 1942\" - pan from man to woman\u003cbr/\u003e3. Wide of \"Nighthawks, 1942\"\u003cbr/\u003e4. Detail pan from cup to face of \"Automat, 1927\"\u003cbr/\u003e5. Detail - close view of face in \"Chop Suey 1929\"\u003cbr/\u003e6. Pan from sign to two women talking in \"Chop Suey 1929\"\u003cbr/\u003e7. Wide of woman in gallery of exhibition\u003cbr/\u003e8. Man walks up to painting and looks at \"Sea Watchers\"\u003cbr/\u003e9. SOUNDBITE: (English) Franklin Kelly, Senior Curator - American and British Paintings: National Gallery of Art:\u003cbr/\u003e\"It's a truism to say, 'you've got to see the works, themselves.' But I think with Hopper it's especially the case because his work is so well known by so many people through reproduction, both, you know, legitimate and even caricatures, and what I've taken away from this exhibition, and I've known his work all my life and I've seen exhibition, is just how beautiful these paintings and watercolours are, they really are. They're powerful images, in their own right, as images, but they also, as works of art, they're just really wonderful, I love people to leave with the same kind of feeling.\"\u003cbr/\u003e10. Pullout and pan from \"Sun on Prospect Street\" to three Hopper lighthouse paintings\u003cbr/\u003e11. Wide view of \"Lighthouse at Two Lights\"\u003cbr/\u003e12. Wide view of \"Captain Upton's House, 1927\"\u003cbr/\u003e13. Detail of \"Captain Upton's House, 1929\"\u003cbr/\u003e14. Pull to show \"Lighthouse Hill, 1927\"\u003cbr/\u003e15. SOUNDBITE: (English) Franklin Kelly, Senior Curator - American and British Paintings: National Gallery of Art:\u003cbr/\u003e\"Obviously, throughout his career, light is just essential. In his black and white etchings, in the watercolours, in the paintings, and when he say, 'It's about me,' and you see that painting of light, well, I don't know, that just seems to be. I've been asked today about, you know, somebody said, 'wow, he really like windows,' and I said, 'yeah, I think he liked light and windows let in light, or they let you look in and see.\"\u003cbr/\u003e16. Tilt down from roofline to two women on balcony in \"Second Story Sunlight, 1960\"\u003cbr/\u003e17. Wide view of \"Chop Suey, 1929\"\u003cbr/\u003e18. Window of \"Seven A.M., 1948\"\u003cbr/\u003e19. Wide view of \"Rooms for Tourists, 1945\"\u003cbr/\u003e20. Detail of \"Rooms for Tourists, 1945\"\u003cbr/\u003e21. SOUNDBITE: (English) Franklin Kelly, Senior Curator - American and British Paintings: National Gallery of Art:\u003cbr/\u003e\"There are questions where you wonder, you know, what is the woman in \"Western Motel,\" she's just in this room, she seems to be by herself, she's looking at us. The question is almost, not sort of what's going on as 'what are we supposed to make of this?' I think that's deliberate on Hopper's part. I mean, he sets up that kind of situation so often, and again, that starts these sort of possibilities unfolding, but again, because there is no answer, that keeps them endlessly interesting.\"\u003cbr/\u003e22. Wide of \"Western Motel, 1957\"\u003cbr/\u003e23. Mid view of \"Western Motel, 1957\"\u003cbr/\u003e24. SOUNDBITE: (English) Franklin Kelly, Senior Curator - American and British Paintings: National Gallery of Art:\u003cbr/\u003e\"And this is, I think, one of the most amazing things about Hopper, is that he can set these possible narratives kind of rolling in our minds, but there's never any sort of pat ending, or specific way, and that keeps that possibility open, and I think that's what makes his paintings really timeless. I mean, these are paintings from the first half of the twentieth century. That's a long time ago now, and yet they still seem kind of modern and very much part of our experience.\"\u003cbr/\u003e25. Pan from \"New York Movie, 1939\" to \"Chop Suey, 1929\"\u003cbr/\u003e26. Wide of \"Automat, 1927\"\u003cbr/\u003e27. Wide of \"Haskell's House, 1924\" \u003cbr/\u003e28. SOUNDBITE: (English) Franklin Kelly, Senior Curator - American and British Paintings: National Gallery of Art:\u003cbr/\u003e\"First of all he chose places that don't seem, first of all he chose places that don't seem, yes, even though it's old architecture, the Victorian house, the shop fronts. But they're not specific in the sense of, you know, you see his New York, but you don't see the Empire State Building, or something that locates it in both time and place. And, in fact, some of these scenes could be anywhere. They could be, you know, a city in the South, the Midwest, on the West Coast, and again, that keeps them from being dated. They're not tied in that specific way to some place and time.\"\u003cbr/\u003e29. Wide view of \"The Mansard Roof, 1923\"\u003cbr/\u003e30. Wide of \"Cape Cod Evening, 1939\"\u003cbr/\u003e31. Detail - porch roof over door in \"Cape Cod Evening, 1939\"\u003cbr/\u003e32. Wide of gallery with Hopper paintings \u003cbr/\u003e33. Close view - \"Self Portrait, 1925-30\"\u003cbr/\u003eA major retrospective look at the works of perhaps the foremost American painter of the 20th century opens on September 16, 2007 at the National Gallery of Art in Washington, DC.\u003cbr/\u003eNinety-nine paintings, watercolours and etchings by Edward Hopper presents a comprehensive view of the artist's forty year career as an illustrator, etcher and painter.\u003cbr/\u003eHopper produced some of the most enduring images of America during his career, including the iconographic painting, \"Nighthawks.\"\u003cbr/\u003eThe painting of a couple sitting in a late night lunch counter in the heart of an unknown American city during the early 1940s.\u003cbr/\u003eThey appear to be at a pause in their conversation as the soda jerk washes dishes and another man reads the early morning newspaper.\u003cbr/\u003eThe coffee shop is surrounded by the darkness of the street and the nearby buildings.\u003cbr/\u003eIn Hopper's popular \"Automat\" a woman sits alone, with a cup of coffee and her thoughts.\u003cbr/\u003eAlso in the exhibition is another iconographic painting by Hopper, \"Chop Suey\"\u003cbr/\u003eHere two women sit across from one another in a restaurant apparently engaged in conversation, or are they?\u003cbr/\u003eOne is never quite sure with Edward Hopper's works whether what is assumed to be occurring in the painting is actually occurring.\u003cbr/\u003eHopper shaped his compositions by eliminating unnecessary details to reveal the essence of a scene.\u003cbr/\u003eFrom these tightly constructed paintings emerge the audible silences and pregnant pauses that make Hopper's work so intriguing.\u003cbr/\u003eFranklin Kelly is Senior Curator of American and British Paintings at the National Gallery of Art in Washington, DC.\u003cbr/\u003eHe says it took three years to put this exhibit of Hopper's works together, bringing together works both in museums and private collections from around the world.\u003cbr/\u003eEdward Hopper was born in Nyack, New York, at the turn of the century, he did not reach artistic maturity until the mid-1920s.\u003cbr/\u003eAt six foot-seven inches tall, Hopper towered over his contemporaries, at least physically, and seemed to live in a world all his own from this lofty height.\u003cbr/\u003eBy the mid-1930s, Hopper's work began to attract attention and that attention has never faded.\u003cbr/\u003eKelly suggests that all the reproductions of Hopper's works that are on the market do not do justice to actually seeing the works in person.\u003cbr/\u003eHopper spent most of his career in New York City, although he did spend several summers on the Maine and Massachusetts sea coasts.\u003cbr/\u003eDuring these trips he did the preliminary work on his famous series of light house paintings.\u003cbr/\u003eHopper was particularly drawn to the architecture of the area and the way the sunlight played on the geometric forms of the lighthouses.\u003cbr/\u003eHe found his subjects within yards of each other with the twin lighthouses at Cape Elizabeth, Maine, and the lighthouse keepers home nearby.\u003cbr/\u003eWhile he had used light as a major motif in his paintings before, along the Maine coast, Hopper found the light particularly fascinating.\u003cbr/\u003eKelly says Hopper's use of windows and light dominates his work. \u003cbr/\u003eHopper puts the viewer on the outside, watching the light play on the homes, buildings and people he chooses as a subject\u003cbr/\u003eIn some paintings Hopper puts the viewer inside the window, observing people as subjects interrupting the flow of sun light in the early afternoon as in Chop Sue, or the morning light in the painting titled \"Seven A.M.\" , or the artificial light at night as evoked in \"Rooms for Tourists\".\u003cbr/\u003eHere again, Hopper uses the main window as a portal into the interior of the boarding house.\u003cbr/\u003eIn Hopper's mature work, the isolated human figure plays an increasingly important role.\u003cbr/\u003eThe lone figure, usually a woman, is often depicted lost in through with a hardened expression, as in the painting \"Western Hotel.\"\u003cbr/\u003eKelly says Hopper sets up a series of questions by the position of the car outside the window and the luggage at the foot of the bed.\u003cbr/\u003eIs the woman leaving, or did she just arrive.\u003cbr/\u003eConversation and movement are suspended and yet there is a sense that the viewer has stumbled into the room and confronts some sort of drama that is about to occur.\u003cbr/\u003eHopper had a lifelong passion for live theatre and for movies.\u003cbr/\u003eIn \"New York Movie,\" he places the female usher alone in her thoughts, while the movie plays in the background.\u003cbr/\u003eAnd, in \"Chop Suey,\" the viewer asks, 'what are these women talking about, or are they talking at all?'\u003cbr/\u003eThe nature of light playing on the geometric shapes of houses, buildings, fields and factories became a trademark of Hopper's work.\u003cbr/\u003eKelly says Hopper was able to select subjects that become universal.\u003cbr/\u003eSuch works as \"Mansard Roof\" or \"Haskell's House\" become gems in watercolour, which in turn are transformed into the architectural detail of such paintings as \"Cape Cod Evening.\"\u003cbr/\u003eHopper painted up until the last years of his life, returning to several themes that he'd pursued earlier in his career.\u003cbr/\u003eHe continued to be fascinated by the play of sunlight on the side of a house, or an interior or a lighthouse until his death in 1967.\u003cbr/\u003eThe retrospective takes place at the National Gallery of Art in Washington DC from September 16, 2007 - January 21, 2008.\u003cbr/\u003e\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='action-container flex justify-between'\u003e\n\u003cbutton aria-expanded='false' aria-label='Read more description' class='rp-full-description' 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