석주님 감사합니다.
좋은 그림과 동영상!
Hopper 를 늘 좋아 했었는데.

Hopper's wife가 모델인 "Morning Sun", 반갑습니다.
우리 CMA 소장품이거던요.
Industrialized modern society에서 겪는 인간의 Isolation, 고독을
냉담한 분위기의 landscape 속에 표현했지요.
사람이 있어도 고립되어 있는 모습, 무척 외롭습니다.

"Solitude is not a private space over against the public space
of community, nor is it merely a healing space in which
we restore ourselves for community life.
Solitude and community belong together; each requires the other
as do the center and circumference of circle.
Solitude without community leads us to loneliness and despair,
but community without solitude hurls us into a "void of words
and feelings"

Solitude is essential to community life because in solitude
we grow closer to each other.
When we pray alone, study, read, write, or simply spend quiet
time away from the places where we interact with each other
directly, we are in fact participating fully in the growth of
community.
It is a fallacy to think that we grow closer to each other 
only when we talk, play, or work together.
Much growth certainly occurs in such human interactions, but
at least as much growth can take place when we enter
into solitude.

We take the other with us into solitude, and there
the relationship grows and deepens.
In solitude we discover each other in a way which
physical presence makes difficult, if not impossible.

It is in solitude that compassionate solidarity grows.
In solitude we realize that nothing human is alien to us,
that the roots of all conflict, war, injustice, cruelty, hatred,
jealousy, and envy are deeply anchored in our own heart.
In solitude our heart of stone can be turned into a heart
of flesh, a rebellious heart into a contrite heart, and a closed
heart into a heart that can open itself to all suffering
people in a gesture of solidarity."

From Solitude and Community by Henri Nouwen‏

Thank you for your insight through Henri Nouwen, Dr. Lee.
It's like one closes physical eyes to vision the imaginary entity or inner thoughts,
needing to be away from the crowds or noises.
Needing to be in SOLITUDE.

 Dr. 이건일님, 승자님,
친절하신 코멘트, 감사합니다.

저도  많이 좋아하는 Hopper의 여러 작품들이
우리도 때로는 경험하는  현대인의 고독, 고립을 표현 했다고도 하나 그보다도
제게는 그의 많은 작품들이 'SOLITUDE' 'PEACE' 를 표현한 듯 느껴집니다.
특히 이분 그림에 창문이 자주 등장하는데 창밖을 혼자 바라보는이의 모습이 
외로움 보다는 Peaceful하고 Serene한  아름다움을 느끼지요.

또한 하루의 2-3편의 영화를 보았었다는 "영화광'  Hopper의 작품들 중에는 영화중에
character를 표현한 그림들도 있고,
"New York Movie" 란 그림을 보면 극장 층계앞, 벽에 비스듬히 기대어 생각에 잠겨있는 여인의 모습에서
일상생황에서 벗어나 다른세계로의 탈출? 기대의 심정이 느껴지기도합니다.
어느 누군가가 "영화는 다른 세계(세상)로 가는 것" 이라고 말했다지요.

보통 일상생활속의 한 순간을 포착해서 우리에게 '아름다움'을 느끼게하고  'Thought Provoking' 
그림들을 그린  "Hopper"는 많은 일반인들에게 ugly하게 보이는 미국의 모던 건축물도
한참 잘 보면  아름답다면서 많이 그리고, (아마도  이분은 미술 작업을 위해서도
'SOLITUDE'를 많이 enjoy했었을 것 같은) 미국을 사랑한 애국자 ??, American Realist Artist (1882 - 1967)입니다.

"Edward Hopper" 의 작품들을 다시금 감상 할 수 있게 "Travel with a Painter" 흥미있는 기행문을 올려주신 
민선생님께 감사드립니다. 

Dr.& Mrs. Lee

You meant this piece. It tells many things.

I read yesterday about Murakami Haruki.
I heard his book will become a movie presented to Venice movie festival by a
French -Vietnamese director? 
It is called  "Norweignian wood" something ?
Someone commented that "solitude" "loneliness" in his characters is a prelude to "love".
This emotion dominates often the psych of the adolescent period, looking for a partner
 to make a family according to the design of the Creator or evolutionary process.

Dr. Zhivago story played on this emotion too.

If everyone is happy and self content, we do not need another human being.
 Then, we must be extint on this planet.

"극장 층계앞, 벽에 비스듬히 기대어 생각에 잠겨있는 여인의 모습에서"

 

 

 

Minn sunsangnim,

Yes, the picture that you put right above is the one.
Of course, depending on the perceptions and imaginations of each person
it could tell lots of different stories. Dr. Minn.

Edward Hopper- Biography

Edward Hopper was born on July 22, 1882, to a prosperous dry-goods
merchant in Nyack, New York, a small town on the Hudson about twenty-five
miles north of New York City. He enrolled in the Correspondence School of
Illustrating in New York in 1900; he transferred to the New York School of Art
the next year, and it was here that he studied with legendary teachers
William Merritt Chase, Robert Henri, and Kenneth Hayes Miller.

Hopper visited Europe three times between 1906 and 1910, and while he was a life-long Francophile,
 he never went abroad again. In 1913 he moved to
 Greenwich Village, renting the top floor apartment at 3 Washington Square
North. This would be his home for the rest of his life.
Until the age of 40, Hopper’s career was marked by disappointment.
He only sold one painting, and was rarely able to get into gallery shows.
 He supported himself through commercial illustration—which he loathed—and printmaking, which won him critical recognition.

Hopper’s breakthrough came in 1923 when the Brooklyn Museum bought
his watercolor The Mansard Roof for $100. The following year he married
fellow painter Josephine Nivison and began showing his work with prominent New York art dealer
Frank Rehn. Solo shows made Hopper’s reputation:
his oils and watercolors sold well, and critics applauded his quiet realism,
use of light, and above all, his ability to reveal beauty in the most mundane
subjects.

In 1933, the Museum of Modern Art gave Hopper his first retrospective
exhibition. The exhibition included many of his signature subjects:
Victorian houses, New York restaurants, automats, drugstores, and bridges, as well as views into
 quiet, middle-class apartments. Also in the exhibition were paintings from his summer travels to
Gloucester, Maine and after 1930, from
Truro on Cape Cod. In 1934, he and his wife Jo built a house in Truro where
they spent almost every summer.

Although Hopper continued to travel, his best-known works came from his
solitary wanderings in New York City. These include Early Sunday Morning,
which shows Greenwich Village shop fronts before people filled the streets,
 and Nighthawks, an image of a diner late at night.

Hopper died at the age 84, and during his long career saw the rise of many
 different avant-garde moments, including Surrealism,
Abstract Expressionism, and Pop Art. Despite the popularity of these styles,
he remained esteemed by critics and the public. In 1950, the Whitney Museum gave him a major
 retrospective and he was featured on the cover of
Time magazine in 1956. In 1967, the year of his death, he represented
the United States in the prestigious Sao Paolo Biennal.

In 1971, his wife bequeathed more than 3,000 of his works to the
 Whitney Museum, which has since staged many important and
critically acclaimed exhibitions of his work. While reviewing of these
exhibitions, novelist John Updike referred to Hopper’s work as
“calm, silent, stoic, luminous, classic,” a description that remains true today.