Para Edward Hopper, Nueva York era una ciudad que existía en su mente a la vez que en el mapa, un lugar que tomó forma a través de la experiencia, la memoria y el imaginario colectivo. New York magazine is the exclusive media sponsor. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Dietrich II Foundation, and Arlene and Robert Kogod. Significant support is provided by Elizabeth Marsteller Gordon.Īdditional support is provided by Ann Ames, Jane Carroll, Elissa and Edgar Cullman, the Daniel W. Major support is provided by the Barbara Haskell American Fellows Legacy Fund David Bolger The Brown Foundation, Inc., of Houston the David Geffen Foundation and Laurie M. Griffin, and the Terra Foundation for American Art. Generous support is provided by Judy Hart Angelo, Kenneth C.

This exhibition is organized by Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints, with Melinda Lang, Senior Curatorial Assistant. By exploring the artist’s work through the lens of New York, the exhibition offers a fresh take on this formidable figure and considers the city itself as a lead actor. The presentation is significantly informed by a variety of materials from the Museum’s recently acquired Sanborn Hopper Archive-printed ephemera, correspondence, photographs, and journals that together inspire new insights into Hopper’s life in the city. Drawing from the Whitney’s extensive holdings and amplified by key loans, the exhibition brings together many of Hopper’s iconic city pictures as well as several lesser-known yet critically important examples. Edward Hopper’s New York charts the artist’s enduring fascination with the city, revealing a vision of New York that is as much a manifestation of Hopper himself as it is a record of the city around him.Įdward Hopper’s New York takes a comprehensive look at Hopper’s life and work, from his early impressions of New York in sketches, prints, and illustrations, to his late paintings, in which the city served as a backdrop for his evocative distillations of urban experience. Eschewing the city’s iconic skyline and picturesque landmarks, such as the Brooklyn Bridge and the Empire State Building, Hopper instead turned his attention to its unsung utilitarian structures and out-of-the-way corners, drawn to the awkward collisions of new and old, civic and residential, public and private that captured the paradoxes of the changing city. During his lifetime, the city underwent tremendous development-skyscrapers reached record-breaking heights, construction sites roared across the five boroughs, and an increasingly diverse population boomed-yet his depictions of New York remained human-scale and largely unpopulated. Hopper’s New York was not an exacting portrait of the twentieth-century metropolis. The city of New York was Hopper’s home for nearly six decades (1908–67), a period that spans his entire mature career. It was, he reflected late in life, “the American city that I know best and like most.” For Edward Hopper, New York was a city that existed in the mind as well as on the map, a place that took shape through lived experience, memory, and the collective imagination.

Skyline displays