Galocha Cultural

sábado, 6 de fevereiro de 2021

Manhã na Carolina do Sul, Estados Unidos (South Carolina Morning) - Edward Hopper

Manhã na Carolina do Sul, Estados Unidos (South Carolina Morning) - Edward Hopper
Carolina do Sul - Estados Unidos
Whitney Museum of American Art, Nova York, Estados Unidos
OST - 77x102 - 1955

From April 1 to May 11, 1929, Edward Hopper and his wife, Josephine Nivison Hopper, visited Charleston, South Carolina. During their trip to the surrounding countryside, the Hoppers encountered a woman who stood in front of her cabin but retreated indoors when her husband came home. Many years later, Hopper revisited this chance meeting in South Carolina Morning, the only painting in his oeuvre that depicts an African American woman. Here, she stands poised on the steps of a building surrounded by an austere slab of sidewalk, which is the only transitional element between the structure and a vast plain of sea grass that extends to the horizon.

New York Interior, Nova York, Estados Unidos (New York Interior) - Edward Hopper

New York Interior, Nova York, Estados Unidos (New York Interior) - Edward Hopper
Nova York - Estados Unidos
Whitney Museum of American Art, Nova York, Estados Unidos

OST - 61x74 - Circa 1921

Edward Hopper frequently represented people as they appeared to him in brightly lit windows seen from passing trains. An early example of Hopper’s interest in enigmatic indoor scenes, New York Interior depicts the turned back of a young woman sewing. This unconventional view suggests the impersonal—and yet strangely intimate—quality of modern urban life, as glimpsed voyeuristically through a window. The woman's clothing and gesture are reminiscent of the iconic ballet dancers painted by French Impressionist Edgar Degas, whom Hopper singled out as the artist whose work he most admired. A partially obscured, framed portrait on the left also appeared in an earlier work, Artist’s Bedroom, Nyack, (1903-06). By including a reference to his past painting, Hopper challenges the impression that we have caught a fleeting glimpse of an anonymous scene.

Restaurante de Nova York, Estados Unidos (New York Restaurant) - Edward Hopper

Restaurante de Nova York, Estados Unidos (New York Restaurant) - Edward Hopper
Nova York - Estados Unidos
Muskegon Museum of Art, Muskegon, Estados Unidos
OST - 61x76 - Circa 1922

A first look at Hopper's work reveals the important role that light plays in evoking the atmosphere characteristic of his paintings. Natural and artificial light create a borderland of either clarity or oppressive density. Some of Hopper's paintings from the twenties show how his depiction of light defines the human situation.
In New York Restaurant, Automat, and Chop Suey, human subjects are portrayed in social situations like an evening at the theater or a restaurant, although none of these pictures tells an actual story. Where the people come from, where they are going, what they are looking at, is peripheral. What primarily interests Hopper is creating a specific atmosphere, transcending the momentary, in which man is viewed comprehensively.
Hopper referred to this intention in a comment on New York Restaurant: "In a specific and concrete sense the idea was to attempt to make visual the crowded glamour of a New York restaurant during the noon hour. I am hoping that ideas less easy to define have, perhaps, crept in also." It is obvious that his special use of light is important for expressing what is "less easy to define," namely, the way in which light isolates the human figure in a room, and how light and shadow formations become an independent element, thereby giving the interior new shape and meaning. The viewer's eye is led to these zones of light, which are independent of the human figures and objects. The dynamics of the human encounter are lost in this kind of light. The figures are engulfed in a strangely dense atmosphere that impedes their movements and forces them to look into themselves, away from the person facing them, away from the outside world in general.New York Restaurant, for example, is a tranquil painting in which time stands still and the everyday scene has been transformed. Cbop Suey, the last painting from the nineteen-twenties, clearly shows the direction Hopper's art was to take. This painting is a formal construction of lines and flat surfaces in which color and especially light-fields take on an optical reality of their own, independent of the concrete objects depicted.
The predominance of formal values corresponds to the speechlessness and motionlessness of the figures. Furthermore, it becomes clear that this play of light imbues the objects with special importance in contrast to the human subjects. The pot and bowl on the table, each a visual unit together with its shadows, are meant to be not objects used by man but primarily a combination of form and color, thereby assuming an independent existence. This autonomy is also evident in the neon sign outside and the coat hanging to the left. Since both of these objects are traversed by a field of light, their status as independent objects is particularly striking. What we observe here is a living exchange between objects and light, taking place without man's awareness. The objects can, of course, be recognized and classified according to their everyday function, but at the same time they are portrayed as formal, abstract entities and thus take on an independence apart from their usefulness. For an understanding of Hopper's work, it is essential to recognize the autonomy the objects have assumed.

sexta-feira, 5 de fevereiro de 2021

Colégio Sagrado Coração de Maria / Posteriormente Lar Santana, Ribeirão Preto, São Paulo, Brasil

Ribeirão Preto - SP

Fotografia

Marco Zero da Cidade de Ribeirão Preto, Ribeirão Preto, São Paulo, Brasil

Marco Zero da Cidade de Ribeirão Preto, Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Fotografia

Bazar de Couros / Antiga Casa Albano, Ribeirão Preto, São Paulo, Brasil

Ribeirão Preto - SP

Fotografia

SAB Importadora, Rua Amador Bueno N. 675, Ribeirão Preto, São Paulo, Brasil

Ribeirão Preto - SP

Fotografia

Nota do blog: Era uma loja que vendia produtos e equipamentos para cinemas. Vendia para os cinemas da cidade, do Triângulo Mineiro, Goiás, Mato Grosso, etc.

Segundo Grupo Escolar / Atual Escola Estadual Fábio Barreto, Ribeirão Preto, São Paulo, Brasil

Segundo Grupo Escolar / Atual Escola Estadual Fábio Barreto, Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Fotografia

Reunião de Fundação da Academia Ribeirãopretana de Letras, 1947, Ribeirão Preto, São Paulo, Brasil

Ribeirão Preto - SP

Fotografia

Da esquerda para a direita em pé:
Prof. Benedito de Siqueira Abreu, Dr. Osmani Emboaba da Costa, Teatrólogo Teodoro José Papa, , Dr. Sylvio Ricciardi, Prof. José Paschoal Rosário, Dr. José Wilson Seixas Santos, Radialista Sebastião Porto, Dr, José Magalhães Navarro, Prof. Mário Moreira Chaves e Dr. Fernando Correia Leite. Sentados: Jornalista: Antônio Machado Santana, Dr. Plinio Travassos dos Santos, Prof. José de Souza Magalhães, Dr. Rubem Cione, Prof. Daniel Amaral Abreu, Profa. de Matemática Emília da Mata.

Nota do blog: Data 1947 / Autoria não obtida.

Ginásio do Estado / Atual Escola Estadual Otoniel Mota, 1935, Ribeirão Preto, São Paulo, Brasil

Ginásio do Estado / Atual Escola Estadual Otoniel Mota, 1935, Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Fotografia

Encontrei essa imagem créditada como sendo de 1935, autoria de José Gullaci / Photo Gullaci.
Porém, essa mesma imagem também foi publicada em 1934 na revista "A Cigarra", sem atribuição de autoria. Além disso, a mesma imagem também aparece em forma de cartão postal da Photo Sport, como sendo de 1935.
Portanto, como foi publicada em 1934 na revista "A Cigarra", as datas deste post e o da Photo Sport estão equivocadas, também havendo dúvida quanto a real autoria da imagem.
Nota do blog: Data 1935 (incorreta, é, no mínimo, 1934) / Imagem de José Gullaci (sujeito à confirmação).