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00 Edward Hopper's canvasses are filled with stripped-down spaces and unrelenting light, evocative landscapes, and the lonely aspects of men and women seemingly isolated in their surroundings. What kind of man had this haunting vision, and what kind of life engendered this art? No one is better qualified to answer these questions than art historian Gail Levin, author and curator of the major studies and exhibitions of Hopper's work. In this intimate biography she reveals the true nature and personality of the man himself--and of the woman who shared his life, the artist Josephine Nivison. Edward Hopper's canvasses are filled with stripped-down spaces and unrelenting light, evocative landscapes, and the lonely aspects of men and women seemingly isolated in their surroundings. What kind of man had this haunting vision, and what kind of life engendered this art? No one is better qualified to answer these questions than art historian Gail Levin, author and curator of the major studies and exhibitions of Hopper's work. In this intimate biography she reveals the true nature and personality of the man himself--and of the woman who shared his life, the artist Josephine Nivison.
January 21, 1995: Dorothy Joudrie is arrested for attempting to murder her estranged husband. Soon after, Audrey Andrews begins to write her book. Audrey and Dorothy had known each other as children, but the identification of Andrews with Joudrie goes beyond merely the accident of a childhood acquaintance. It has to do with being subjected to the same societal constraints placed on girls and women during the years immediately following World War II, the years in which they had prepared for their adult lives. Expectations, placidly accepted then, are now seen as unrealistic and unreasonable. Did these expectations have some part in causing the tragedy in Dorothy Joudrie’s life? When Andrews...
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