Among his monotype and pastel works, Degas did a series featuring a young model bathing in private interior scenes, many with the light coming in from a window. The model appears to be caught midway into a movement, making triangles with her body. While the bathing models make a variety of shapes in various positions, many of these interior scenes have secondary verticals and rumpled fabrics that support the model in the composition, and give the scene an intimate feeling, emphasizing the interior elements.
Edward Hopper, Evening Wind, etching (1921)
Hopper’s Prints
Hopper, Night in the Park, etching (1921)
Hopper, The Railroad, (1922)
Hopper produced approximately 70 prints over a relatively short period of time. His career as an etcher was short, and ended in 1923. In 1928 he made two last drypoints, before abandoning printmaking to focus on painting.
Martin Lewis, etching
If all Hopper wanted to do was paint light on the side of a house (Hopper’s quote), all Martin Lewis wanted to do was capture moments where light and shadow play.
Martin Lewis, Relics, drypoint, 1928
Notice how Lewis uses diagonals and strong light vs dark shadow shapes to create structure and mood in his compositions. The figures initiate the movement, but in parallel to Hopper’s quiet stage actors, they’re no more individual and personal than the buildings themselves. The story lives in the moment of the scene.
I am interested in showcasing pictures that illustrate the very strange 6′ social distancing rule. Open to any media (photography, drawing, painting, printmaking, sculpture, etc). Must be a League member to submit. Please email your works to ruthiev(at)seattleartistleague.com. Include your name, the artwork’s title, size and materials, and your website/social media page. Send your images …
I’d like to tell you about the most unusual art class I’ve ever been a part of, a class called “Figure in Interior.” “Figure in Interior” sounds normal enough, but this class was anything but normal. I specially designed this Thursday series of Intermediate Studio to shift the artist’s focus away from illustrating the scene …
[image_with_animation image_url=”11061″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Ruthie V, Doorzien, after Carlos San Millan. 36×24″ oil on linen Last Saturday, while the steamroller printmaking party was happening on the street, inside the studio we had a show of works inspired by doorzien, a Dutch word that when applied to the genre of painting, means to see through from …
Take a class with SAL – anywhere! A while back I was Looking Closely at JS Sargent’s Portrait of Henry James. In the post I guessed at Sargent’s palette, his brushes, and a bit about his process. After I wrote that post I continued thinking about his process, did more research and more thinking, and …
Hopper’s Influences in Printmaking
“Au Louvre, la peinture, Mary Cassatt” by Degas
Among his monotype and pastel works, Degas did a series featuring a young model bathing in private interior scenes, many with the light coming in from a window. The model appears to be caught midway into a movement, making triangles with her body. While the bathing models make a variety of shapes in various positions, many of these interior scenes have secondary verticals and rumpled fabrics that support the model in the composition, and give the scene an intimate feeling, emphasizing the interior elements.
Edward Hopper, Evening Wind, etching (1921)
Hopper’s Prints
Hopper, Night in the Park, etching (1921)
Hopper, The Railroad, (1922)
Hopper produced approximately 70 prints over a relatively short period of time. His career as an etcher was short, and ended in 1923. In 1928 he made two last drypoints, before abandoning printmaking to focus on painting.
Martin Lewis, etching
If all Hopper wanted to do was paint light on the side of a house (Hopper’s quote), all Martin Lewis wanted to do was capture moments where light and shadow play.
Martin Lewis, Relics, drypoint, 1928
Notice how Lewis uses diagonals and strong light vs dark shadow shapes to create structure and mood in his compositions. The figures initiate the movement, but in parallel to Hopper’s quiet stage actors, they’re no more individual and personal than the buildings themselves. The story lives in the moment of the scene.
Related Posts
Call for Art: 6′ of Space
I am interested in showcasing pictures that illustrate the very strange 6′ social distancing rule. Open to any media (photography, drawing, painting, printmaking, sculpture, etc). Must be a League member to submit. Please email your works to ruthiev(at)seattleartistleague.com. Include your name, the artwork’s title, size and materials, and your website/social media page. Send your images …
The Most Unusual Art Class; Cezanne
I’d like to tell you about the most unusual art class I’ve ever been a part of, a class called “Figure in Interior.” “Figure in Interior” sounds normal enough, but this class was anything but normal. I specially designed this Thursday series of Intermediate Studio to shift the artist’s focus away from illustrating the scene …
The Doorzien Show
[image_with_animation image_url=”11061″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Ruthie V, Doorzien, after Carlos San Millan. 36×24″ oil on linen Last Saturday, while the steamroller printmaking party was happening on the street, inside the studio we had a show of works inspired by doorzien, a Dutch word that when applied to the genre of painting, means to see through from …
Notes on Sargent: Brushes
Take a class with SAL – anywhere! A while back I was Looking Closely at JS Sargent’s Portrait of Henry James. In the post I guessed at Sargent’s palette, his brushes, and a bit about his process. After I wrote that post I continued thinking about his process, did more research and more thinking, and …