BLACKHEAD PAINTED BY EDWARD HOPPER

 

EDWARD HOPPER (1882-1967)

Blackhead (50 m-150 ft) 

United States of America (Maine)

1. In Blackhead, Monhegan, 1916-19,oil on canvas,  Whitney Museum of American Art, 

The mountain 

Blackhead (50m-150 ft) are northside cliffs situated on Monhegan, Manana Island, that have drawn the interest of  many artists.  The beginnings of the art colony on Monhegan date to the mid-19th century; by 1890, it was firmly established. Two of the early artists in residence from the 1890s, William Henry Singer (1868–1943) and Martin Borgord (1869–1935), left Monhegan to study at the Académie Julian in Paris in 1901. Among many early members who found inspiration on the island were summer visitors from the New York School of Art and the Pennsylvania Academy of the Fine Arts, such as Robert Henri, Frederick Waugh, George Bellows, Edward Hopper and Rockwell Kent. The Monhegan Museum celebrated more the continuing draw of the island for artists in a 2014 exhibit entitled, “The Famous and the Forgotten: Revisiting Monhegan’s Celebrated 1914 Art Exhibition.

Monhegan is a plantation in Lincoln County, Maine, United States, about 12 nautical miles (22 km) off the mainland. The population was 75 at the 2000 census. The plantation comprises its namesake island and the uninhabited neighboring island of Manana. The island is accessible by scheduled boat service from Boothbay Harbor, New Harbor and Port Clyde. It was designated a National Natural Landmark for its coastal and island flora in 1966.[

The name Monhegan derives from Monchiggon, Algonquian for "out-to-sea island." European explorers Martin Pring visited in 1603, Samuel de Champlain in 1604, George Weymouth in 1605 and Captain John Smith in 1614. The island got its start as a British fishing camp prior to settlement of the Plymouth Colony. Cod was harvested from the rich fishing grounds of the Gulf of Maine, then dried on fish flakes before shipment to Europe. A trading post was built to conduct business with the Indians, particularly in the lucrative fur trade.  It was Monhegan traders who taught English to Samoset, the sagamore who in 1621 startled the Pilgrims by boldly walking into their new village at Plymouth and saying: "Welcome, Englishmen." 

The painter
Edward Hopper was a American realist painter and printmaker.

Conservative in politics and social matters (Hopper asserted for example that "artists' lives should be written by people very close to them"), he accepted things as they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading. He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy, or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.

Hopper's most systematic declaration of his philosophy as an artist was given in a handwritten note, entitled "Statement", submitted in 1953 to the journal, Reality:

"Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception.

The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design.

The term life used in art is something not to be held in contempt, for it implies all of existence and the province of art is to react to it and not to shun it.

Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great."

 
_______________________________
2022 - Wandering Vertexes...
by Francis Rousseau

BLACKHEAD, MONHEGAN PAINTED BY EDWARD HOPPER

EDWARD HOPPER (1882-1967)

Blackhead (50 m-150 ft) 

United States of America (Maine)

1. In Blackhead, Monhegan, 1916-19,oil on wood, Whitney Museum of American Art, 

The mountain 

Blackhead (50m-150 ft) are northside cliffs situated on Monhegan, Manana Island, that have drawn the interest of  many artists.  The beginnings of the art colony on Monhegan date to the mid-19th century; by 1890, it was firmly established. Two of the early artists in residence from the 1890s, William Henry Singer (1868–1943) and Martin Borgord (1869–1935), left Monhegan to study at the Académie Julian in Paris in 1901. Among many early members who found inspiration on the island were summer visitors from the New York School of Art and the Pennsylvania Academy of the Fine Arts, such as Robert Henri, Frederick Waugh, George Bellows, Edward Hopper and Rockwell Kent. The Monhegan Museum celebrated more the continuing draw of the island for artists in a 2014 exhibit entitled, “The Famous and the Forgotten: Revisiting Monhegan’s Celebrated 1914 Art Exhibition.

Monhegan is a plantation in Lincoln County, Maine, United States, about 12 nautical miles (22 km) off the mainland. The population was 75 at the 2000 census. The plantation comprises its namesake island and the uninhabited neighboring island of Manana. The island is accessible by scheduled boat service from Boothbay Harbor, New Harbor and Port Clyde. It was designated a National Natural Landmark for its coastal and island flora in 1966.[

The name Monhegan derives from Monchiggon, Algonquian for "out-to-sea island." European explorers Martin Pring visited in 1603, Samuel de Champlain in 1604, George Weymouth in 1605 and Captain John Smith in 1614. The island got its start as a British fishing camp prior to settlement of the Plymouth Colony. Cod was harvested from the rich fishing grounds of the Gulf of Maine, then dried on fish flakes before shipment to Europe. A trading post was built to conduct business with the Indians, particularly in the lucrative fur trade.  It was Monhegan traders who taught English to Samoset, the sagamore who in 1621 startled the Pilgrims by boldly walking into their new village at Plymouth and saying: "Welcome, Englishmen." 

The painter
Edward Hopper was a American realist painter and printmaker.

Conservative in politics and social matters (Hopper asserted for example that "artists' lives should be written by people very close to them"), he accepted things as they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading. He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy, or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.

Hopper's most systematic declaration of his philosophy as an artist was given in a handwritten note, entitled "Statement", submitted in 1953 to the journal, Reality:

"Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception.

The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design.

The term life used in art is something not to be held in contempt, for it implies all of existence and the province of art is to react to it and not to shun it.

Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great."
- More about Edward Hopper

HOOK MOUNTAIN BY EDWARD HOPPER

EDWARD HOPPER (1882-1967) 

Hook Mountain (210 m - 689 ft)

United States of America

In Hook Mountain, Nyack, 1899, watercolor, Whitney Museum, NYC

The mountain

Hook Mountain (210m - 689 ft)  is a summit overlooking Rockland Lake and the Hudson River, a central feature of the Hook mountain State Park.  Hook Mountain was known to Dutch settlers of the region as Verdrietige Hook, meaning "Tedious Point", which may have been a reference to how long the mountain remained in view while sailing past it along the Hudson River, or for the troublesome winds that sailors encountered near the point.  Hook Mountain has also been known in the past as Diedrick Hook.

Like other areas of the Hudson River Palisades, the landscape now included in Hook Mountain State Park was threatened by quarrying in the late 19th and early 20th centuries. To ensure the land's protection, the property was acquired to be a part of the Palisades Interstate Park in 1911.

Portions of Hook Mountain State Park and nearby Nyack Beach State Park were designated as a National Natural Landmark in 1980 for their portion of the Palisades Sill.

Hook Mountain was designated by the New York Audubon Society as an Important Bird Area in 1997, due to its importance as a feeding area for migratory songbirds and hawks. It has been utilized annually as a hawk monitoring station since 1971.  The park is currently designated as a "Bird Conservation Area" by the New York State Office of Parks, Recreation and Historic Preservation.

In May 2015, the Sisters of Our Lady of Christian Doctrine announced that they were considering allowing their 38-acre (0.15 km2) property to become a part of Hook Mountain State Park. The order's property, which is adjacent to the southern portion of the park, could be sold to The Trust for Public Land, who would then transfer the property to New York State.

Hook Mountain State Park is a 676-acre -2.74 km2  undeveloped state park located in Rockland County, New York. The park includes a portion of the Hudson River Palisades on the western shore of the Hudson River, and is part of the Palisades Interstate Park system. Hook Mountain State Park is functionally part of a continuous complex of parks that also includes Rockland Lake State Park, Nyack Beach State Park, and Haverstraw Beach State Park.

Sources: 

 - Palissades Parks Conservancy 

The painter
Edward Hopper was a American realist painter and printmaker.

Conservative in politics and social matters (Hopper asserted for example that "artists' lives should be written by people very close to them"), he accepted things as they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading. He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy, or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.

Hopper's most systematic declaration of his philosophy as an artist was given in a handwritten note, entitled "Statement", submitted in 1953 to the journal, Reality:

"Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception.

The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design.

The term life used in art is something not to be held in contempt, for it implies all of existence and the province of art is to react to it and not to shun it.

Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great."

Though Hopper claimed that he didn't consciously embed psychological meaning in his paintings, he was deeply interested in Freud and the power of the subconscious mind. He wrote in 1939: "So much of every art is an expression of the subconscious that it seems to me most of all the important qualities are put there unconsciously, and little of importance by the conscious intellect."

Hopper was stoic and fatalistic—a quiet introverted man with a gentle sense of humor and a frank manner. Hopper was someone drawn to an emblematic, anti-narrative symbolism, who "painted short isolated moments of configuration, saturated with suggestion".  His silent spaces and uneasy encounters "touch us where we are most vulnerable", and have "a suggestion of melancholy, that melancholy being enacted". His sense of color revealed him as a pure painter as he "turned the Puritan into the purist, in his quiet canvasses where blemishes and blessings balance".  According to critic Lloyd Goodrich, he was "an eminently native painter, who more than any other was getting more of the quality of America into his canvases".

Hopper derived his subject matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theaters, railroads, and street scenes) and its inhabitants; and two, seascapes and rural landscapes, a few (2 or 3, not much)  mountains landscape. Regarding his style, Hopper defined himself as "an amalgam of many races" and not a member of any school, particularly the "Ashcan School".  Once Hopper achieved his mature style, his art remained consistent and self-contained, in spite of the numerous art trends that came and went during his long career.

Hopper's seascapes fall into three main groups: pure landscapes of rocks, sea, and beach grass; lighthouses and farmhouses; and sailboats. Sometimes he combined these elements.

Urban architecture and cityscapes also were major subjects for Hopper. He was fascinated with the American urban scene, "our native architecture with its hideous beauty, its fantastic roofs, pseudo-gothic, French Mansard, Colonial, mongrel or what not, with eye-searing color or delicate harmonies of faded paint, shouldering one another along interminable streets that taper off into swamps or dump heaps."

References

-  Edward Hopper Wikipedia Page 

MOUNT MORAN PAINTED BY EDWARD HOPPER

EDWARD HOPPER (1882-1967)

Mount Moran (3,842 m -12,605 ft) 

 United States of America  (Wyoming)

The mountain
Mount Moran is a mountain in Grand Teton National Park of western Wyoming, USA. The mountain is named for Thomas Moran, an American western frontier landscape artist. Mount Moran dominates the northern section of the Teton Range rising 6,000 feet (1,800 m) above Jackson Lake.  Several active glaciers exist on the mountain with Skillet Glacier plainly visible on the monolithic east face. Like the Middle Teton in the same range, Mount Moran's face is marked by a distinctive basalt intrusion known as the Black Dike.

On November 21, 1950, a C-47 cargo plane owned by the New Tribes Mission crashed on Mount Moran during a storm, killing all 21 on board. A rescue party organized by Paul Petzoldt located the wreckage on November 25, but the extreme location of the crash made it impossible to recover the plane or the bodies. The wreckage remains on the mountain today, but the Park Service discourages direct climbs to the site.

Climbing

The first ascent of Mount Moran was made on July 22, 1922 by LeGrand Hardy, Bennet McNulty and Ben C. Rich of the Chicago Mountaineering Club via the Skillet Glacier route. The Skillet Glacier still provides perhaps the easiest and most direct route to the summit and is rated 5.4. As the name implies, most of the climb is on the steep snow and ice of Skillet Glacier, and an ice axe and crampons should be used in the ascent.

Mount Moran is an impressive mountain which would make it attractive to mountaineers.  However, the comparative difficulty of the approach to the climbs makes it a much less popular climb than the Grand Teton and other peaks to the south. No trails to Mount Moran have been maintained for over twenty years, and any approach overland requires a great deal of bushwhacking through vegetation, deadfalls and bogs along the perimeter of Leigh Lake. Instead, most climbers choose to canoe from String Lake, across Leigh Lake and then pick their way to their respective route; but even this may require some overland route finding. As a result, most climbs on Mount Moran tend to take several days even when the technical portion of the climb is comparatively brief.

The most popular route up Mount Moran is the CMC route, named for the Chicago Mountaineering Club. The CMC is rated 5.5, and ascends the east face just south of the Black Dike. The CMC climbs good rock and is essentially free of snow and ice. It also has the advantage of a good camp high on the flank of the mountain.  The Direct South Buttress route, rated 5.7 A3, is recognized in the historic climbing text Fifty Classic Climbs of North America and considered a classic around the world.

References :
- Mount Moran in Summitpost.org 
- Wikipedia Moutn Moran Page

 The painter
Edward Hopper was a American realist painter and printmaker.

Conservative in politics and social matters (Hopper asserted for example that "artists' lives should be written by people very close to them"), he accepted things as they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading. He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy, or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.

Hopper's most systematic declaration of his philosophy as an artist was given in a handwritten note, entitled "Statement", submitted in 1953 to the journal, Reality:

"Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception.

The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design.

The term life used in art is something not to be held in contempt, for it implies all of existence and the province of art is to react to it and not to shun it.

Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great."

Though Hopper claimed that he didn't consciously embed psychological meaning in his paintings, he was deeply interested in Freud and the power of the subconscious mind. He wrote in 1939: "So much of every art is an expression of the subconscious that it seems to me most of all the important qualities are put there unconsciously, and little of importance by the conscious intellect."

Hopper was stoic and fatalistic—a quiet introverted man with a gentle sense of humor and a frank manner. Hopper was someone drawn to an emblematic, anti-narrative symbolism, who "painted short isolated moments of configuration, saturated with suggestion".  His silent spaces and uneasy encounters "touch us where we are most vulnerable", and have "a suggestion of melancholy, that melancholy being enacted". His sense of color revealed him as a pure painter as he "turned the Puritan into the purist, in his quiet canvasses where blemishes and blessings balance".  According to critic Lloyd Goodrich, he was "an eminently native painter, who more than any other was getting more of the quality of America into his canvases".

Hopper derived his subject matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theaters, railroads, and street scenes) and its inhabitants; and two, seascapes and rural landscapes, a few (2 or 3, not much)  mountains landscape. Regarding his style, Hopper defined himself as "an amalgam of many races" and not a member of any school, particularly the "Ashcan School".  Once Hopper achieved his mature style, his art remained consistent and self-contained, in spite of the numerous art trends that came and went during his long career.

Hopper's seascapes fall into three main groups: pure landscapes of rocks, sea, and beach grass; lighthouses and farmhouses; and sailboats. Sometimes he combined these elements.

Urban architecture and cityscapes also were major subjects for Hopper. He was fascinated with the American urban scene, "our native architecture with its hideous beauty, its fantastic roofs, pseudo-gothic, French Mansard, Colonial, mongrel or what not, with eye-searing color or delicate harmonies of faded paint, shouldering one another along interminable streets that taper off into swamps or dump heaps."

References

-  Edward Hopper Wikipedia Page