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the iridescence of New
England light. Hopper’s architectural subjects have traditionally been interpreted in anthropomorphic terms, as surrogates for the lone human figures that inhabit his paintings. In this instance, the lines of the roofs adjacent to the church lead the eye across both axes of the image to the steeple. Hopper’s view of the church from below underscores both the spiritual resolve and the physical resilience embodied by this historic American structure.
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533:. By 1924, Hopper had produced enough work to mount an exhibition of watercolors at the Frank K. M. Rehn Gallery in New York, which sold out. Now able to give up his career as a commercial
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Commons. If the work is not a U.S. work, the file
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Universalist Church (1926). Watercolor over graphite on cream wove paper. Princeton
University Art Museum, New Jersey
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the church’s combined symbolic and aesthetic values, Hopper finally joined the "crowds" in painting it.
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Princeton
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founded by fishermen in 1663, Gloucester became a thriving art colony visited by early
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875:(2nd ed.), Princeton, NJ: Princeton University Art Museum, p. 350
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American painter, drawer, graphic artist, illustrator and engraver
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40° 20′ 49.92″ N, 74° 39′ 28.08″ W
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Reprocessed from inventory - used in Print on Demand project
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indicating the copyright status in the source country.
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152:: English: Universalist Church
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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